Wealth of Folklore Material from 1950s on New Saucējas CD

From July 8 to August 6, 1958, a team from the Latvian SSR Academy of Sciences traveled to the Ludza and Kārsava districts in the Latgale region in eastern Latvia to gather folklore materials and record the songs and singing styles of these areas. Led by Alma Ancelāne (who worked in the Folklore Department at the Language and Literature Institute), and joined by other employees and students, the team, which also included future composer Pauls Dambis, gathered information so as to preserve these songs, most of which were passed around in an oral tradition, and the team compiled an extensive record from their expedition.

Recognizing the wealth that was gathered in this one expedition, the traditional folk singing group Saucējas, based at the Latvian Academy of Culture, decided to record an album of just the songs collected during that month in 1958. Entitled Trīci, munu ustabeni!, the CD contains performances of 29 songs from the Ludza and Kārsava districts (which is actually just a small percentage of the total folklore material gathered). Saucējas, directed by Iveta Tāle, also includes singers Marianna Auliciema, Kristīne Jansone, Indra Mētra, Janta Meža, Signe Pujāte, Kristīne Rotbaha, and Vineta Romāne. Most of the songs on the album are sung unaccompanied, but some have musical accompaniment.

One of the many aspects that makes the gathered musical material significant is the presence of multi-voiced singing (rather than just everyone singing the same melody in unison). For example, the multi-layered harmonies of “Kiukoj, uoru dzagiuzeite”, originally performed by the Kārsava ethnographic ensemble, a song about a girl that begins to cry when she hears the cuckoo singing, as she misses her brothers.

Saucējas have endeavored to make sure the performances are as authentic as possible – to make it sound like these are indeed songs as they were heard in the Latvian countryside – in other words, perhaps not entirely perfect and polished, but full of vitality and life. In songs like “Iz pīguli, iz pīguli”, “Malni muni kumieleni”, and “Tolka lela, tolka moza”, the group intentionally go for a loud sound, like women singing in a field while working.

The songs on the album cover many themes, reminding listeners that Latvians have folk songs for just about any occasion. Besides themes of work and relationships, there are songs about war and seasonal festivities. The collection is bookended by two lullabies – “Sešas peles mīgu vylka” and “Atnes, peleit, mīdzeni”, giving the song collection an almost circular sense – that the day begins and ends with sleep, and perhaps to suggest the importance of singing to children, so that the songs and traditions continue to be passed down throughout the generations.

Recording folk songs, particularly those sung by large groups with multiple voices and harmonies, is always a challenging task, and one additional aspect that makes this a successful release is that the group enlisted veteran folk music producer Gatis Gaujenieks (who has produced records for groups like Iļģi and Laiksne), and there is a crisp clarity in the immersive vocal performances.

As with many other releases from the Lauska record label, the packaging is again exceptional. The CD comes with a book of almost one hundred pages, detailing the songs and the research expedition. It provides many fascinating details about the time – one might wonder how it was possible in the late 1950s, deep within the time of the Soviet occupation of Latvia, that a team could research Latvian folklore (particularly considering the Soviet policy of the Russification of Latvia). As it was during the ‘Khrushchev Thaw’, certain restrictions were relaxed, but lest anyone forget that they were in the Soviet Union, as part of the expedition, researchers also had to ask participants if they were, for example, members of the Communist Party. Information is provided in both English and Latvian, and there are also many pictures from that era.

One of the more unique Latvian cultural events of the 1950s has led to one of the most unique Latvian folk music albums.  Providing a fascinating picture of how Latvian culture was still alive, to a certain degree, while part of the Soviet Union, but, at the same time, presenting a broad view of Latvian folk singing and a variety of themes, Trīci, munu ustabeni! is a faithful and authentic re-creation of a visit to small villages in eastern Latvia. Saucējas present the full spectrum of singing on the album – from intimate individual performances to loud ensemble performances, and the group has created not just an important historical document, but also a joyous and resplendent folk music album.

For further information, please visit the Saucējas Facebook page.

Also, all of the original audio material from the 1958 folklore expedition can be found here.


Trīci, munu ustabeni!

Trejdeviņi koklētāji
Saucējas, Lauska, CD053, 2016

Track listing:

  1. Sešas peles mīgu vylka
  2. Iz pīguli, iz pīguli
  3. Malni muni kumieleni
  4. Kiukoj, uoru dzagiuzeite
  5. Kiukoj dzagiuze i dzīd laksteigola
  6. Tolka lela, tolka moza
  7. Lineni, muni lineni
  8. Es beju māmeņai vīna pati meiteņa
  9. Zīdi, zīdi, rudzu vuorpa
  10. Oi, gaļdeni, oi, gaļdeni
  11. Dāmpoļka
  12. Pluovuoja laiveņa pa dziļom jiurom
  13. Zeile dzīd(i), zeile dzīd(i)
  14. Aijā, munu vīglu pruotu
  15. Prūjom juoīt, prūjom juoīt
  16. Muoseņ(i) mīluo, kū tu te dori?
  17. Sastdiņ labi cīmā īti
  18. Pa kam var pazeit avīšu kryumu?
  19. Kū tys muns kakleņš
  20. Trīci, munu ustabeni
  21. Nadūd, Dīvs, veitulam(i)
  22. Tev zeileite zini nese
  23. Eima, eima mes, muosenis
  24. Padzīdim(i) mes, muosenis
  25. Doncojit(i), gūļojit(i)
  26. Zīmys svātki sabraukuši
  27. Kreicpoļka
  28. Kas duorzā(i), kas duorzā(i)
  29. Atnes, peleit, mīdzeni


Egils Kaljo is an American-born Latvian from the New York area who lives in Rīga, Latvia. When not working in the information technology field, he sings in the Latvian Academy of Culture mixed choir Sõla, does occasional translation work, and has been known to sing and play guitar at the Folkklubs Ala Pagrabs in Old Rīga. Kaljo began listening to Latvian music as soon as he was able to put a record on a record player, and still has old Bellacord 78 rpm records lying around somewhere.

Gregorian chants feature on CD by Riga ancient music ensemble

Schola Cantorum Riga: Domus Mea

Skani, LMIC/SKANI 046, 2016

One of the earliest manuscripts that references music in Riga is the Missale Rigensis (or Riga Missal), a 15th century document that describes church and liturgical life at the Riga Cathedral. The Missal provides an overview of the celebration of Mass throughout the calendar year, and, among instructions and texts, there is also music – the Gregorian chants that were performed during Mass. This can be considered the first evidence of written musical history in Latvia.

Recognizing the importance and uniqueness of this document and the music contained within it, the Gregorian and ancient music ensemble Schola Cantorum Riga, led by Guntars Prānis, have recorded an album of some of the music in the Missal, entitled Domus Mea. As these songs were originally performed in the Riga Cathedral in the 15th century, it is appropriate that this CD was recorded at the same Riga Cathedral, but almost 600 years later. The album was released by the Latvian national record label Skani, which has released many excellent CDs and has raised awareness of talented Latvian artists and composers worldwide.

Schola Cantorum was founded in 1995, and the ensemble mainly focuses on medieval era repertoire, but also performs modern works. The group members on this recording were Jānis Moors, Aigars Reinis, Jānis Kurševs, Dainis Geidmanis, Ansis Klucis, Kaspars Milaševičs, Mārtiņš Moors and Jānis Rožkalns.

The CD contains two cycles of works, the first being the 13 part Missa in Dedicatione Ecclesiae and the second the five part Varia in Assumptione Beatae Mariae Virginis & In Dedicatione Ecclesiae. Missa in Dedicatione Ecclesiae is a mass for the celebration of the dedication of a new church, and it combines both elements from the Riga Missal as well as other chants of that era.

Though Gregorian singing is, by its very nature, relatively simple and plain (that is, these spiritual works are not meant to be flashy), there is an art to making this kind of music. Its simple nature still contains many different emotions and thoughts – worship, faith, praise, even fear. Schola Cantorum Riga bring out the many facets of these chants that are more than half a millennia old – making them as vital and as vivid as they were 600 years ago.

The Riga Cathedral Girls’ Choir Tiara, conducted by Aira Birziņa, joins the ensemble on two of the recordings, and the Gregorian singing is balanced by the girls’ choir, revealing additional layers in the sacred texts and making for a particularly unique performance.

Prānis also adds an extra dimension to some of the performances by adding the hurdy-gurdy – a medieval era crank-turned string instrument that was originally intended as a tool to teach monks to sing. Its single voiced sound adds a haunting and somber element to the music in the chants such as ‘Agnus Dei cum tropo’ and ‘Fundata est’.

The CD booklet contains extensive notes on the works and Gregorian singing by Prānis (who is also a PhD in Gregorian singing), as well as notes on the performers, in Latvian and English. The booklet also has all the texts to the chants, with the original Latin texts translated into Latvian and English. Still, the English translation has inconsistent translations for ‘Rīgas doms’, the correct ‘Riga Cathedral’ appears, but also the incorrect ‘Dome Cathedral’ (which is incorrect, if only because the cathedral doesn’t actually have a dome).

Schola Cantorum Riga reconfirm that they are one of the premiere early music ensembles with the release of Domus Mea, a release that is not just of high quality, but of historic value, as it contains some of the earliest music written in Latvia. It is an authentic and faithful recreation of the music of that era, and the recording in the Riga Cathedral gives the music an added spirituality and sacredness, confirming that this music, comparatively simple chanting, is eternal and always relevant. Director Guntars Prānis has establishes himself as an extremely talented and knowledgeable Gregorian music interpreter, and, together with the exceptional singers in Schola Cantorum Riga, has made a memorable record of early sacred music in Latvia.

For further information, please visit the Schola Cantorum Riga website.



Egils Kaljo is an American-born Latvian from the New York area who lives in Rīga, Latvia. When not working in the information technology field, he sings in the Latvian Academy of Culture mixed choir Sõla, does occasional translation work, and has been known to sing and play guitar at the Folkklubs Ala Pagrabs in Old Rīga. Kaljo began listening to Latvian music as soon as he was able to put a record on a record player, and still has old Bellacord 78 rpm records lying around somewhere.

Vasks’ five string quartets now available on 2 CDs

In celebration of composer Pēteris Vasks’ 70th birthday in 2016, many recording projects were undertaken, and among the many such projects, perhaps the most ambitious is the recording of Vasks five (to date) string quartets by the Spīķeru String Quartet.

Released separately on two CDs (the first CD, containing string quartets Nos. 2 and 5 was released in 2015, then the second CD, containing string quartets Nos. 1, 3, and 4 was released in 2016), the works were recorded at the recently built Rēzekne concert hall GORS in the Latgale region of Latvia in 2014.

The Spīķeru String Quartet, who have been performing as a group since 2011, is made up of Marta Spārniņa (violin), Antti Kortelainen (violin), Ineta Abakuka (viola) and Ēriks Kiršfelds (cello). The name of the quartet comes from the fact that their base is the Spīķeri Concert Hall in Riga. The quartet also focuses on the music of Latvian composers in their repertoire, so they were a natural fit to take on the monumental task of recording all of Vasks’ string quartets for the German record label Wergo (who have released many of Vasks’ works on CD).

One of the many aspects that makes recording Vasks’ string quartets such a challenging endeavor is the scope of the works – they were composed over a nearly 30 year period – String Quartet No. 1 was composed in 1977 (though revised in 1997), and String Quartet No. 5 was composed in 2004, and feature many different compositional techniques and approaches. Vasks, whose music is often harsh and is meant to depict suffering, still imbues his compositions with hope, and his string quartets are often intimate and personal, balancing elements of nature, spirituality, and the Latvian spirit. Gathered together, his string quartets are an essential aspect of not just his body of work, but in all of Latvian music, and to perform them requires a group of musicians who are not only talented, but able to convey all of the emotions expressed in his music – and the Spīķeri String Quartet is such an ensemble.

The first string quartet, as it was written in the late 1970s, is perhaps the harshest of all of the quartets, and even though it was written in the period of the Soviet occupation of Latvia, it still has Vasks expressing his view of society at that time (in, of course, as oblique and abstract a way as possible, considering the severe censorship at the time). One might even consider the second movement (Sonata), with its rising tension, to be a kind of counter to the stagnant and oppressive Soviet environment of that era.

Vasks’ String Quartet No. 2 was composed in 1984, and this work displays the themes of nature that so often appear in his works. The quartet is entitled ‘Vasaras dziedājumi’ (Summer Tunes), and the work traces, in musical form, the summer from beginning to end. The first movement is entitled ‘Izplaukšana’ (Coming into Bloom), and its slow, deliberate development presents a picture of blooming nature after a long winter. The Spīķeru String Quartet provides an enthralling interpretation of this work, captivating the listener with their performance of this picturesque movement. The blooming is then followed by the movement simply entitled ‘Putni’ (Birds), where the musicians present the sounds and songs of a wide variety of birds. The sorrowful third movement – ‘Elēģija’ (Elegy), heralds the approaching autumn, and the accompanying sadness at the departure of summer.

More than a decade passed before the appearance of the third string quartet, which was composed in 1995. According to the liner notes of the CD, the theme of this string quartet is Christmas. From the soft and tender touches of the first movement, perhaps reminding the listener of a calm winter night, with candles flickering in the darkness, the sudden burst of energy in the second movement, a kind of celebratory dance, provides a stark contrast. The abrupt end of the second movement then leads to the dramatic third movement, reminding listeners that even during Christmas, one of the most joyous times of the year, there is still much suffering and unhappiness in the world, but this somber note is tempered with the concluding fourth movement, which does resolve this string quartet on a note of hope (and bird sounds again), indicating that all is not lost. The Spīķeru String Quartet takes this work with its many contrasts, and reveals all the many subtleties and nuances throughout.

At more than half an hour in length, Vasks’ String Quartet No. 4, composed in 1999, is the longest of the quartets. The work and its five moments were dedicated to the composer’s mother, who was celebrating her 90th birthday, which inspired the composer to contemplate the entire 20th century in this work. Perhaps due to that dedication, the work has, at times, a sentimental feel to it, a sense of eras that have long passed, particularly the slightly nostalgic first movement ‘Elegy’, which, according to the notes, is meant to convey a view of Latvia in the early 20th century. The concluding movement – ‘Meditation’, one of the most striking sections of all the string quartets, is woven together by the melancholy violin performance, which, as Vasks himself described, is meant to convey the flight of an angel, who views the world with both sadness and hope.

The most recent string quartet – composed in 2004 – is in two parts, with a theme of presence and absence. The first part, entitled ‘Klātbūtne’ (Being Present), is a direct and sharp work, and the Spīķeru String Quartet maintain this turbulence and tension for the entire thirteen minutes of the piece – bringing forth the energy and emotion until the conclusion. The second movement, as in many of Vasks’ works, is an immediate contrast, somber and deliberate. Entitled ‘Tālu prom … tik tuvu’ (So distant … yet near), it is another work that is full of longing and a quiet despair, emotionally rich and textured. As the movement concludes, the strings present a mood of departure, as the music fades, conveying a sense of deep loss.

The CDs come with extensive notes on the composer, the Spīķeru String Quartet, as well as detailed notes and analysis of the works, written by Latvian composer Jānis Petraskēvičs. The notes are presented in both German and English. The label Wergo, which is a division of the Schott Music Publishing company, has produced yet another commendable CD of Vasks’ music.

Recording all five of Vasks’ string quartets, with their varying styles, broad range of themes and emotions, from pure joy to the depths of despair, would be an ambitious and daunting challenge for any string quartet, but the Spīķeru String Quartet has proven themselves not only up to the task, but has presented what might even be considered the definitive performances of these quartets. As the quartets trace the evolution of Vasks’ compositional style throughout the decades, they are perhaps the cornerstone of his body of work, and an essential aspect of Latvian classical music as a whole. These two CDs are not only a testament to Vasks’ stature as one of the greatest Latvian composers, but also to the talent of the Spīķeru String Quartet.


Pēteris Vasks String Quartets No. 1 – 5

Wergo WER 7329 2 (Quartets 2, 5), 2015
Wergo WER 7330 2 (Quartets 1, 3, 4), 2016


Egils Kaljo is an American-born Latvian from the New York area who lives in Rīga, Latvia. When not working in the information technology field, he sings in the Latvian Academy of Culture mixed choir Sõla, does occasional translation work, and has been known to sing and play guitar at the Folkklubs Ala Pagrabs in Old Rīga. Kaljo began listening to Latvian music as soon as he was able to put a record on a record player, and still has old Bellacord 78 rpm records lying around somewhere.