FROM G. PELETSIS' LETTER TO V. MARTYNOV ... And what l was especially planning to write about happened in a bus on the way to Salacgriva. l could possibly call it a revelation for myself (though not in a workable terminological framework), since it was something which, with its more or less momentary manifestation brings a certain amount of knowledge or certainty. The qualities of profundity and paradox, in all likelyhood, of a very diverse kind - from rather frequent minimum to extremely rare maximum (the latter not necessarily present in every human life). At any rate, for me this vision had turned out to be most impres-sive. Albeit being an entirely musical one. The express bus drove smoothly along the highway. The weather outside of the window was very cloudy. l slumbered along, but was entirely sober. There was music sounding out from the radio, which all of a sudden started to arouse in me an unspeakable delight. In this condition l felt asleep, whereas before l was trying to understand the acoustical psychological reasons for such a wondrous effect of the sounds from the radio on me. And all of a sudden l had a dream that l was in a large and majestic cathedra, most probably an Orthodox Christian one, although the setting and the inferior was hardly a traditional one. Along with me there was a very large number of Muscovites there - our common acquaintances. You and l were sitting. A few other people were sitting as well. Occasionally, some groups of people moved slowly and ceremoniously. As for me, l was completely and ecstatically benumbed. The only thing which was reality, and what captivated me completely was the music. It was a wonderful and endless flow of the most varied inward qualities, in which nothing was repeated, whereas outwardly it was a smooth beautiful sound without fluctuations in the level of the mood. You will, most probably, smile, and it would be difficult to provide this music with serious commentaries, but it went on in the most varied types of genres and stylistic trends. It had features of, alternately, rockmusic, early music, a certain Tukhmanov and "even worse types". However, everything followed up, one idea after another, in such a wonderful way, and each musical section contained such a great deal of spiritual-artistic power as well lightness, that it seemed that the problem of the everyday type of music (surrounding us) being "low" or "down-to-earth" simply did not exist. But one thing l remembered very well was that there were no sounds or no trace of aesthetics of modernism or avant-garde present.
Presently l am beginning to think that triadic music is something more than merely a historical period within the evolution of art. Does not music really end where the triadic enjoyment ends? Even in the realm of populär music, if it is a new, emerged trend of music in the 20th Century, features the emergence of new resources of tertial harmonies. And presently one can either breathe in a new life into tertial harmony (of course, in the broad meaning), or to search something adequately similar to it. To write more intricately on this subject is to exercise in a succession of epithets, metaphors and comparisons. l doubt that it is nec-essary to do this now. Better to share a few thoughts, which l carried out of this joyf ul moment. Although, now l could say that it confuses and embarrasses me more than inspires me. It is because now l know that it is possible to attain a similar type of inner freedom as the type that was available to the ancient peoples, but existing at the level of our entire auditory experience. And it could unreservedly pour out into an endless stream of sound, without any repetitions or "thematic development". But its most important modus (the technical modus) had already eluded my comprehension. l only remember is spiritual-artistic modus - continuously evoking happiness, love and tenderness. But how did such heterogeneity combine in such an unquestionable homogeneity had no idea. How was such a natural and desirable eternity attained? What transformation did the sound material receive, so that each sound would penetrate so deeply into the soul?
A few days ago, in the evening, having made use of my loneliness, l sat down at the piano and within the time-frame of 10 or 20 minutes, wrote a short piece. At first, l was not too involved in it, while now, l am frequently playing it and singing it to myself. There is a certain type of Schumannesque vein in it, which it is pleasant to touch upon. l did not find any irresistible intonations here, of course, but l still would like to share it with you. Apparently, there would be no sense to play it at any of the official composers' forums. Would anybody have any use for it at all, the way it is? Maybe you don't have any use for it either, but l will still send it to you. You could think of it, simply, as a "greeting from Riga". Write to me, whenever you have the time or are in the mood!
Gosha / 3 December, 1984
Translated by Ant Rovner
