Kalnins, Imants (1941)
Biography Works
Foto 1
Imants Kalniņš was born in Riga
on 26 May, 1941. In 1956 he enters the choral conducting study
program at the Jāzeps Mediņš School of Music, but in his
second year transfers to the music theory
department, where he particularly values lessons taught by composer
Jānis Līcītis. In 1960 he begins studies in composition with
professor Ādolfs Skulte at the Latvian Conservatory of Music (now
Latvian Music Academy). Following the recommendation of his
professor, Imants Kalniņš completes the five-year study program in
four years and in 1964 graduates from the Conservatory with
excellence, as well launching his creative portfolio with his First
Symphony. During his student years Kalniņš also composed the
Concerto for Cello, Piano Sonata, as well as his first theatre
music. During this same period (1961–1964) Imants Kalniņš is
pianist for The Riga Pantomime, led by
Roberts Ligers. This is also the time that the composer gained his
first creative influences from imported rock-n-roll, particularly
from The Beatles recordings. In
1966 Imants Kalniņš becomes a member of the Latvian Composers
Union.
After completing his studies Imants Kalniņš moves to the city
of Liepāja and teaches at the Emilis Melngailis School of Music
until September of 1967. He subsequently works at the Liepāja
Theatre until 1974. In 1969 Imants Kalniņš founds the rock-n-roll
group 2xBBM, whose repertoire includes
songs by The Beatles, Latvian folk song
arrangements and original works. After a concert in the city of
Ogre in 1970 the group was banned from performing. Many well-known
rock songs, as well as the rock opera Hey, You
There (according to some sources – the first rock
opera in the history of the USSR) were composed in Liepāja during
the late 1960’s and early 1970’s.
After this period in Liepāja comes one year in Rīga, then in
1975 Imants Kalniņš moves to rural Vecpiebalga, and in his country
home Vecpaulēni he composes the
operas I Play, I
Dance andIphigenia in Aulis,
the oratorio Morning Hours and
other notable works. In 1976, heeding the suggestion of
ensemble Menuets leader Jānis
Blūms, the first one-day festival of Imants Kalniņš music,
Imantdiena, is held. It becomes a tradition, yet already in 1982 it
is banned by the officials. In 1995 the Imantdienas phenomenon is
renewed and the festival tradition resumed.
In the late 1970’s Imants Kalniņš returns to Riga. In 1985
the group Turaidas Roze is formed.
That same year the Soviet regime acknowledges the work of Imants
Kalniņš, conferring upon him the honorary title of Latvian SSR
People’s Performing Artist. In December of 1986 he becomes Chairman
of the Board for the Latvian SSR Music Society.
At one time he had declared that he would not place his neck
in the noose of politics, nevertheless, in 1988 Imants Kalniņš
joins LNNK, the Latvian Nationalist Independence Movement. In
autumn 1988, speaking in the First Congress of the Latvian Peoples
Front, he expressed a distinctly patriotic stance. During the
Emergency session of congress called by LNNK in 1989 he insisted
that the forced establishment of a Latvian SSR be acknowledged as
illegitimate. In 1990 he is elected representative to the Latvian
SSR Supreme Soviet. In mid 1990 he joins the political
party Fatherland and Freedom, and has
been a Parliament member during the fifth, seventh and ninth
sessions of Saeima.
For the premier performance of the original version of his
Fourth Symphony and song cycle of poems by Ainars
Mielavs Of Things That Never Do
Pass he has received the Latvian Great Music Award
in 1997. In 1998 he received the highest national award, the Three
Stars Order of Honour, third category.
The music of Imants Kalniņš is absolutely individual. In both
classical and non-academic genres the composer’s signature style is
equally recognizable – as brilliant in symphonic as in pop music.
Ostinati figures and detailed ornaments of the melodies or
principal themes abound, there is no lack of characteristic
harmonic progressions and cadences. While works from the early
period show an expressionistic character, his later works are
characterized by crystal clear texture and classical thinking. He
feels quite comfortable in extended works, large
forms: I enjoy a longer conversation with the
listener. The music of Imants Kalniņš has developed into
a powerful influence on his colleagues, often there is cause for
speaking about epigones of Kalniņš. However, it is not in the sense
of plagiaristic epigonism, but rather the mark of a powerful
musical personality on his peers and their music.
Orests Silabriedis
