The Appearance and the show face of compositional aspects of the “Master” Aleksandër Peçi!
For sure, in Albania, as there are no people dealing with their own affairs as an obliged response to the unrelated comments of “Master” Aleksandër Peçi (as to continue the history of “Rrotalia”), I thought to make a brief analysis. On this occasion, I took a thick book like his entire work with named “Remodelage”, (pronounce it like in French) as the Master usually writes the titles of his works in French, so he seems to be more “master”, and then he follows them in English – New Edition / for piano, to show you he knows many languages. I brought this moment as a review of all his literature, published by his own publishing house: Alfior Editions, which publishes as much as for publicity reasons and sells as much as possible to students without any registration code (ISMN). Anyway…! In this volume there are included piano works: “L’instant poetique” (motive du film Quand on tourné un film), “Transparence”, “En suivant les rythmes du jour”, “Sakos wedding”, “Général du Gramaphon”, “Botë e padukshme”, still “Sako’s Wedding”, “Në çdo stinë” and “Si gjithë të tjerët”, so 9 works named in different languages.
As soon as you open the first work it is distinguished the melody line of the “Kur xhirohej një film”. It is a simple and beautiful song of that period when the movie was done, which certainly featured only the illuminated side of life, but still remarkable in its own sincerity. The introduction consists of a characteristic group of Baroque and classics time widely used for example by Mozart:
(Sonata for piano in Fa mag III movement),
Or (Beethoven: (Sonata Nr 5 Do minor I mov.),
Well, it is not a big deal to use a phrase as even Scnittke has taken even larger fragments from those before him. This is what is called modernity! The main melody in si minor accompanied all the time by this melisma in the left hand is accompanied by another “modern” element. It is about chords in a state of nonacord and Dominant fifteen chord, mostly used in the harmony of jazz that are completely out of the context of the melody and that uses to disturb it. It is like wearing the Botticelli “Venus” with slip and boots to the knee. So the “Great Master” creativity has taken a handful of modern time and dance “according to music”. Here’s the skill, and then say this is not genius!
Certainly, we do not have to go into detail because you may also suspect for another ”mastery”: that of not knowing harmony as in the case of the writing of measures in different tonalities (Half of them in si minor, the other half in si b minor) and not with the respective grades of basic harmony. Or the right hand chord with Fa #, the group in the left with natural fa:
These were the first two measures and we did not bother to explain here the “miracles” and “skills” that represent the following measures. Even the main melody is not written correctly. Apparently as part of the mastery! The first phrase with la # and the second phrase with Si bemol and for this color as si bemol also adds a la natural to sound septima, though it just scratches the ears and has nothing to do with the system or the tune of total:
The only system is seventh that the “Master” has been convinced of its “interval”, but what kind of seventh it doesn’t matter. It is important to sound a bit like “modern” music. If we were to look for any configuration of this “Peçi phenomenon” we would have to imagine a realistic painting with many colors scattered over it to “modernize” it. This is the essence of pseudo-modernist music of “master”.
Indeed the work is written for the piano, but it has chords that can not be realized by the pianist and this is another mastery of the “Wonder Master”, as the big rabbit is hidden in the dense bush. Let’s give a few examples:
And there is no word about publishing misunderstanding, as such is so full that some measures remain without the proper value of marks (I do not believe the author intended to apply polyrhythmic because he is far from this element), or with added value surprisingly (as a 7/8 measure unexpectedly entered in a 6/8 work entitled “Under the Rhythms of the Day”), but for moments that really can not be played on the piano.
It is strange and perhaps some “master” invention that the second part “Transparency” ends on page 14 of the book and on page 15 (surely) is a fragment that belongs to the third part, which if translated would be called “According to the rhythms of time”. These publications, where a side of the page is preceded, are apparently the modern inventions of the “Master” and the expression of his talent born at Laci Church to draw attention to the genius of the work. On the other hand, we notice a passage repeated several times in different axes of height. For Ex. The Measures 21 – 23 are repeated in measures 26 – 28 and 29, 31, 33 etc., etc. Even the measure 30 is a repetition of half of measure 29 and there are a lot of this. Apparently the “Master” has learned Copy – Paste in the computer and thus extends the work according to the principle of “unity”. And yes, the SASEMI (House of Copyrights) pays for minutes, and if the work is played, even at his “Peçidrom” festival he gets more money. He has not forgotten the time when as an arrangator he divided the measures into 2/8. Money is always sweet, though there is a bit of a compromise with art. Who is going to notice it?
It is special the last work “ Si gjithe te tjeret”. It is distinguished, as unknowable Paparisto, for an unformed form that the “master” can call “quick” as well as for the wrong connection of chords, which the “master” may call “modern” connection. However, culture stratifications bring development, while deviations create mostly fireworks that quickly quench. Music History mirror those composers who have created something new based on knowing the best rules and experience of the tradition, or the consciousness of historical knowledge. Countless amateurs were always wholesale and unfamiliar with it. But the “Master” does not have time to think and remember technical compositional rules. He writes and writes to overpass the opus of Bach and can answer: – “I am an artist, this is my inspiration,” but he forgets that Stravinsky writes: – “Inspiration, art, artist are slightly terms that forbid there is clearly a domain that is all-embraced, calculated, and where the spirit of the speculative spirit passes “(Igor Stravinskij” Poetika Muzikore “, Paris Plon Page 18).
Here is what the “master” says: The first period Is followed by its repeating a quinta above A1, (mot a mot) then a completely foreign relation (consists of the descending chromaticity of a an arpeggio originally in la minor). The continuation is another period B, close to the first ending in the dominant for re minor but with the ellipse pass into Fa # minor. Still there is another chromatic arpeggio without any connection. The next two measures are preparation at Sol minor from where the main melody of the film starts as a full cycle C, in sol minor. The code consists of a downward melody and a T-D ratio, and finally a melody in the ascending order to complete the interval of the motive. So the form can be formulated: A – B – C – Coda. At first glance it looks correct, but triad form is built to create contrast, and on the other hand the principle of rarity is universal. In the case of the master the contrast is left to Coda and the disappearance of the principle of return is an expression of creative freedom! I think these are different materials from the film all together without thinking about what the relationships they have with each other and what form they create, but: “Let it Be there”.
Again harmoniously, there are some erroneous harmonic links where the four voices descend:
but as such can be found everywhere, we may define them as part of the author’s creative style.
As a conclusion we may say that: The author in this book chew himself by thinking that he is growing and approaching in time by yet propagating the younger melodies of youth. Tonal and simple melodies of the past are serviced in accompaniment, with foreign intonations for the subject matter, mainly from foreign elements of jazz music, impressionist or atonal music, expressing openly for professionals the ignorance and the lack of rationality and the creativity style dilemmas The musical score represents a clear lack of the correct writing (because we are referring to a publication rather than manuscripts), and, worst of all, the lack of technical recognition of harmony, solfegio, pianism etc.
We quote: “Music broadcast, on the one hand, seems to require maximum specialization, doctrine, school … (Enrico Fubini Aesthetics of Music, Il Mulino, 37)
The master writes a lot and with repeated repetition, and this is related to his hungriness for money by making compromises with art itself. In this line goes also the “victory” of the award awarded by RTSH and that for how the contest was conducted, it was understood from the beginning that it was a shame perhaps prepared with some of the main executives of the institution. However, with this problem we will take another time when we find it reasonable.