# Pēteris Vasks



## andruini

Pēteris Vasks (born April 16, 1946) is a Latvian composer.

Vasks was born in Aizpute, Latvia, into the family of a Baptist pastor. He trained as a double-bass player, and played in several Latvian orchestras before entering the State Conservatory in Vilnius in the neighboring Lithuania to study composition, as he was prevented from doing this in Latvia due to Soviet repressive policy toward Baptists. He started to become known outside Latvia in the 1990s, when Gidon Kremer started championing his works and now is one of the most influential and praised European contemporary composers.
Vasks' early style owed much to the aleatoric experiments of Witold Lutosławski, Krzysztof Penderecki and George Crumb. Later works included elements of Latvian folk music, such as his gentle and pastoral cor anglais concerto (1989). His works are generally extremely clear and communicative, with a solid and muscular sense of harmony. Lyrical passages may be followed by agitated dissonances, or interrupted by sombre sections with a march-like feel. He made extensive use of minimalist techniques as well, but never became a slave to any particular method.
Vasks feels strongly about environmental issues, and a sense of nature both pristine and destroyed can be found in many of his works, such as the String Quartet No. 2 (1984). Other important works include Cantabile (1979) and Musica dolorosa (1984) and "Bass Trip" (2003) for solo double bass . He has written five string quartets, the fourth (2003) and fifth (2006) of which were written for the Kronos Quartet. Vasks was the recipient of the Vienna Herder Award in 1996 and the Latvian Grand Music Award in 1997, the latter for his violin concerto Tālā Gaisma (1996-7). His important works also include "Viatore", Symphony #2, "Music for a deceased Friend", etc.

(from Wikipedia)

I recently discovered his music with the CD that includes Musica Adventus, Viatore and the concerto for Cor Anglais.. Viatore is one of the most beautiful pieces of music I've ever heard.. It moved me in such a profound way.. I hadn't reacted this way to music in a long time.. It's so wonderfully modern, yet so at the core of human emotion, and with such a gorgeous sense of harmony.. I heartily recommend this composer! Such a pleasant surprise..

Anyone have any comments on him??


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## Mirror Image

I need to checkout his work. There seems to be a good bit in the way of recordings, so I'll definitely check him out.

He's Latvian too, so this will be quite interesting, because I know of no other Latvian composers.


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## PostMinimalist

There is a clip of Gunars Upatnieks playing Bass Trip on Youtube. This was a commission fro the Munich international competition in 2000 (? I think) and is really not too dificult but it is ten minutes of emotional turmoil which can be quite tiring!
FC


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## arturs86

As a Latvian I could try to show Pēteris Vasks from my point of view. (I also used information from www.music.lv). I will also show You available links and some of the best examples of his music.










He always was against soviet system and it's aggression etc. But he never made his music offensive. Rather he was including semantic meaning in music - using chorals, songs of a birds, motives or characters of Latvian folk songs etc.

After soviet times the main idea still is the same - spirituality over everything. His father was a pastor, so Christian ideology and point of view is all over his music. The greatest inspiration Vasks finds in nature. He also feels closer to God in nature than in church.

Main topics in his music are:

- *Latvian nation*, its faith. Homeland. Also history of it. His music uses folk motives. But he rather uses intonation and a feeling of folk music than excerptions of it.

- *Beauty of nature*. Seasons of a year, voices of birds etc.
Example: Piano cycle "Seasons". Our pianist Vestard Shimkus in world premiere:





- *Birds* are symbols of time, nature, life and freedon in Vasks music. Unlike O.Messiaen, Vasks doesn't use voices of specific birds. They are just associative.
Example: Landscape with birds for flute solo





- *Existence of human*, life as a wonder. Also the presence of death.
Example: Musica Dolorosa 




- *Silence*. You can find a lot of extreme silent examples in his music.

- *Light* in all possible types. Usually gentle, radiant. As a hope, as a way out, as a faith or conviction.
Example: Violin concerto "Distant Light" (1997 Latvian Grand Music Award for it)





Peteris Vasks has always composed for the listener. This fact became most apparent after 1990, when, thanks to the Schott Publishing Company (Germany) his scores became readily available, CD's began to be recorded and released and such renowned musicians as violinist *Gidon Kremer*, Finnish conductor *Juha Kangass*, cellist *David Geringas* and the *Hilliard Ensemble* began to take notice. A whole new world was also opened for Vasks' music through the Bill T. Jones Dance Troupe (U.S.) and the Netherlands Ballet Theater. (took from music.lv)

Also *Kronos Quartet* has made recordings of Peteris Vasks string quartets:





Very remarkable work is "Book for solo cello". Example - 2nd part Pianissimo:





Of course, this is only a brief information. But I hope that it will help You to understand this composer a little bit better.

If You have any questions - please, feel free to ask. I can try to answer.


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## Tapkaara

I heard this composer recently on the local PBS station. Good stuff. Modernist without being too wacky.


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## Sid James

I've only heard his violin concerto, mentioned above, which sounded interesting...


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## Art Rock

One of my favourite contemporary composers. I particularly like the cor anglais concerto.


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## Aramis

I enjoyed some of his chamber music but his writing for piano is disaster just like it is with every minimalistic geezer


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## Llyranor

Since I'm going to a concert where they'll be playing his violin concerto Tālā Gaisma next year, I looked it up on youtube.

At first I was hesistant, not sure where it was going (and perhaps I am a bit skeptical of modern art music, perhaps), but I was quickly sold over. This piece is amazing! Love that solo violin!






I wonder if this is my current favorite 'modern' piece.


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## Chrythes

I've only heard his Piano Trio. Maybe I'm biased because I'm for art that comes from my Baltic brothers, but I honestly think his piano trio is a very fine chamber music piece!


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## cjvinthechair

Happy to find a thread to this excellent (among many other excellent) Baltic composer. Perhaps particularly love his choral works, & thoroughly appreciated the efforts of Arturs to educate us a bit about the other influences on him.
Any other Baltic composers that anyone fancies championing ? I'll certainly log on to such a thread !


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## quack

If you like choral and you like baltic then these 3 CDs are for you (assuming you don't already know them) with lots of different composers:
View attachment 7542


There is a wealth of polish composers but one interesting choral CD I was just listening to recently is by the film composer Wojciech Kilar, kinda like Penderecki lite:
View attachment 7543


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## cjvinthechair

quack said:


> If you like choral and you like baltic then these 3 CDs are for you (assuming you don't already know them) with lots of different composers:



View attachment 7542


There is a wealth of polish composers but one interesting choral CD I was just listening to recently is by the film composer Wojciech Kilar, kinda like Penderecki lite:

Most kind of you to take the trouble to send me the attachments; sadly, when I tried to open them, I was told they were invalid - probably not allowed in my 'rookie' status. Nevertheless, as requested, I've notified the Administrator, & will wait a while to see if anything transpires.

I do have one or two 'general' Baltic CDs, picked up cheaply on E-bay, & of Kilar I have the 'Konig der letzten Tage', 'Missa pro Pace' & 'Exodus', so have some idea of his work.
Any particular names on the Baltic disks that I may not have met yet would be much appreciated ! Many thanks.


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## quack

Hmm strange my pictures aren't working properly they were supposed to be the Baltic Voices CDs http://www.amazon.com/gp/product/B000QQPMZQ/ref=dm_sp_alb and this CD from Kilar http://www.amazon.com/Wojciech-Kilar-Angelus-Exodus-Krzesany/dp/B00005UO8R


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## cjvinthechair

quack said:


> Hmm strange my pictures aren't working properly they were supposed to be the Baltic Voices CDs http://www.amazon.com/gp/product/B000QQPMZQ/ref=dm_sp_alb and this CD from Kilar http://www.amazon.com/Wojciech-Kilar-Angelus-Exodus-Krzesany/dp/B00005UO8R


These links work just fine, thanks ! Yes, Tormis & Sandstrom I could do with acquainting myself with; & see if Angelus and Krzesany are to be found on YT; great !


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## Orange Soda King

Great to see some love for Vasks on here. I sang his Pater Noster in choir about a year ago or so. I'm only familiar with his choral works, but they are fantastic pieces.


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## Llyranor

I've loved Vasks' Distant Light violin concerto for a while now, but hadn't seriously explored the rest of his repertoire until today.

3 works that really stood out for me:

Piano quartet (wow!) 



Plainscapes 



Cello concerto 




And just like that I have 3 cds ordered :0


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## deprofundis

*Peteris vasks*

Im lisening to *distant light *this is so depressing in a pretty way, i have a fews by him is *flute concerto *excellent one of his best yet,i have the split Arvo Part and Peteris Vasks but it did not impress me that mutch. is* symphony no 3* is quite nice , bold and dramatic.

Thanks guys for introducing me to his music :tiphat:


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## StlukesguildOhio

I quite like Vasks' choral music...










and his organ works:










Pēteris Vasks was the son of a Baptist pastor and he seems at his strongest in composing works of a spiritual nature. He was prevented from studying music and composition in Latvia due to the Soviet policy toward Baptists (and other religions) so he studied at the State Conservatory in Vilnius, Lithuania. His music was championed by the violinist, Gidon Kremer.


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## Avey

Recently found this at the library:









Amazing quartet. Extraordinary compositions.

Only found out about *Vasks* through the recent SQ Recommendation List. That was No. 4. These come before. And it all sounds amazing.

Admittedly, one of the few contemporary composers that I find myself immediately attracted to, for whatever reason. Just terrifically passionate stuff.


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## Five and Dime

Picked up this one today:

Peteris Vasks: Sala / Musica appassionata / Credo









Good stuff!

I plan to listen to it a few more times to decide which work is my favorite, but really they're all good.

Priekā.


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## neofite

*Peteris Vasks*

I recently listened to Peteris Vasks's English horn concerto for the first time. It has some beautiful sections, especially near the beginning. This caused me to listen to some more of his pieces. The horn concerto seems best of what I have heard so far. Several questions:

Is this considered 'contemporary classical music' because it is performed by a conventional orchestra? (My grandparents would have classified it as 'popular music.')

Is it considered melodic? I can't hear any consistent melodic development such as is characteristic of classical/romantic era composers. To my uneducated ears it sounds like lots of bits of melody stuck together rather randomly. I have been told that this is because it is much more difficult and time-consuming to write a work that has consistent melodic development throughout. Is this correct?

Given the geographic closeness, as well as the hints of nature and perhaps his nationalistic spirit, has Vasks been influenced to any large extent by Sibelius? How would you rank Vasks as compared to Sibelius?

Regarding personal preferences, where would you rank him among living composers? Would you be enthusiastic about attending a concert featuring Vasks's works if the tickets were standard concert ticket prices? Would you be enthusiastic about attending if it were free?


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## Art Rock

neofite said:


> Given the geographic closeness, as well as the hints of nature and perhaps his nationalistic spirit, has Vasks been influenced to any large extent by Sibelius? How would you rank Vasks as compared to Sibelius?


I don't hear any direct influences myself; in terms of personal ranking: Sibelius is a top 10 composer for me. Although I love Vasks, he is not near that position.



> Regarding personal preferences, where would you rank him among living composers? Would you be enthusiastic about attending a concert featuring Vasks's works if the tickets were standard concert ticket prices? Would you be enthusiastic about attending if it were free?


Among the top 10 living composers for me. I'd be interested in an all-Vasks concert if it were nearby (fat chance) and be willing to pay for it.


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## gvn

These are excellent questions!



neofite said:


> Is this considered 'contemporary classical music' because it is performed by a conventional orchestra? (My grandparents would have classified it as 'popular music.')
> 
> Is it considered melodic? I can't hear any consistent melodic development such as is characteristic of classical/romantic era composers. To my uneducated ears it sounds like lots of bits of melody stuck together rather randomly. I have been told that this is because it is much more difficult and time-consuming to write a work that has consistent melodic development throughout. Is this correct?
> 
> Given the geographic closeness, as well as the hints of nature and perhaps his nationalistic spirit, has Vasks been influenced to any large extent by Sibelius?


I think there's a whole tradition of modern Baltic music deriving largely from Sibelius, and descending, by way of Rautavaara, Pärt, etc., to Vasks and most of his Baltic contemporaries. I agree that this whole tradition isn't particularly interested in "melody" in the 19th century sense; in some (not all) respects, it seems to have more akin with medieval music, or perhaps more relevantly, Eastern Orthodox music. (There may be a slight political element here: Orthodoxy was suppressed by the USSR in the same way as Baltic nationalism was.)

I don't know much about contemporary popular music, but the little I hear (mainly the snippets played by my next door neighbors just before I rush to obliterate it with the Flying Dutchman Overture) seems to me to be going in other directions entirely from Vasks and his Baltic contemporaries. At most I might concede that their music might _possibly_ have a very slight suggestion of 1950s popular music (e.g., Miles Davis in his _Kind of Blue_ phase). But I'm doubtful even about that.



neofite said:


> How would you rank Vasks as compared to Sibelius?
> 
> Regarding personal preferences, where would you rank him among living composers? Would you be enthusiastic about attending a concert featuring Vasks's works if the tickets were standard concert ticket prices? Would you be enthusiastic about attending if it were free?


I personally don't rank composers as if they were sports teams competing for a trophy, because any attempt at that would interfere with my ability to enjoy & appreciate their music. (I'm merely describing a personal quirk of mine, not criticizing anyone else who doesn't have my problems.)

But I would say that Vasks is among the 5 or 6 living composers whose music is played most often in our household, and whose every new composition is awaited with most interest. His style is currently changing and developing; who knows where he may yet go?

Afterthought: I personally think it's desirable to hear the full range of Vasks's music, in order to appreciate him. His compositions to date have been relatively diverse stylistically, though all of them recognizably bear the imprint of the same vibrant personality.


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## Chatellerault

neofite said:


> To my uneducated ears it sounds like lots of bits of melody stuck together rather randomly. I have been told that this is because it is much more difficult and time-consuming to write a work that has consistent melodic development throughout. Is this correct?


What you heard is probably an ironical comment, a _bon mot_. Not to be taken literally.

Contemporary composers often have more time to compose than for example at the time of Bach and Scarlatti, when they had to take care of church music every sunday, harpsichord students, opera staging: some Italian composers in the 18th century would be moving from Florence to Venice to Rome - on a horseback? - to oversee preparations for their operas in each city...

The idea of a composer whose main financial income comes from composing and a little teaching here and there (but no weekly church or courtly obligations) starts roughly with Beethoven. Important to that was the more overspread printing of music (industrial development and all).

Some composers in the 1600s already would print their works and sell over the European market. Venice was an early printing hub: Barbara Strozzi (1619-1677) would have 8 opus nombers. Händel (1685-1759) had 7 opus numbers, the last one was posthumous. Compare with the more than 100 opus numbers of Beethoven and Schumann. I'm mentioning here published works with opus numbers, which means a work that the composer sold to a publisher. Quite different from the vast majority of the works by Bach, Haydn and Mozart, whose sheets were shared only with their patrons, students, friends and family.

So, getting back to Vasks. I suppose he'd have quite a lot of time for composing works in the "Theme and variations" form, if he wishes to. He won't be playing violin every saturday night for a Princess, conducting a chorus at the local cathedral every sunday morning and improvising on the organ every sunday noon. Not saying his life is easier... just different.


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