In just a few short years, the ethno-pop ensemble Tautumeitas have become one of the most celebrated ensembles in Latvia. Combining a traditional Latvian singing style with modern sounds and instruments, as well as giving performances and recording videos that include striking Latvian folk costumes and intricate headdresses and crowns, Tautumeitas continue to enchant listeners not just in Latvia, but worldwide (the group recently returned from a tour of Japan in the summer of 2022).

Building on their success, Tautumeitas released their latest album – Skrejceļš – in 2022. The ensemble is led by Asnate Rancāne, who is joined by Aurēlija Rancāne, Ilona Dzērve-Tālute, Laura Marta Līcīte, Laura Vārpiņa, and Gabriēla Zvaigznīte.

The album is imbued with a rhythmic energy, particularly songs like ‘Guli guli’, a raucous song built on a percussive foundation, as well as the pulsating ‘Mežā’, a song about a girl who prefers to sing in the forest, rather than in the fields.

Latvian celebrations and rituals also figure in many of the songs, such as the celebration of the winter solstice in ‘Spodrē manu augumiņu’. The celebratory, resonant performance also includes many mystical elements from Latvian folklore.

The album does have its more mellow, somber moments, like ‘Ružiņu duorziņā’, where the group sings over a simple, bell-like piano melody. The song, about a girl parting with her family, rises with intensity, and the performance by Tautumeitas is filled with a deeply felt sadness and regret.

Though almost all the song texts are taken from Latvian folk songs, the song ‘Muoseņa’, a collaboration with Prāta vētra vocalist Renārs Kaupers, also includes new lyrics. The dreamy, thoughtful song, about a girl pondering her future, is ornamented by the rich instrumentation that combines modern instruments and more ancient instruments like the Latvian kokle.

One of the odder songs on the album is ‘Rise up!’ a tribute to Marija Golubova, who was from the Latgale region of Latvia and was known for her stories and singing (an album featuring her stories and songs – Marija Golubova: Stāsti un dziesmas – was released in 2003) and clearly, she was an inspiration to Tautumeitas. What makes the song unusual is that the first half of the song has funk and jazz elements (which may remind some listeners of many of Raimonds Pauls’ songs from the 1970s), but then transitions to a more traditional Latvian folk performance. Golubova’s voice is heard throughout the track.

Another song with an unexpected twist is ‘Ritual’, a song about a girl getting ready to get married to a suitor from a distant land. Though the mother is crying, the girl says she will not be far away. The song then turns into a driving, thunderous performance with elements from the Bulgarian folk song ‘Кавал свири’ – (The Kaval is Playing – the kaval being a Balkan flute) so presumably the girl is far away in Bulgaria. This transition, though slightly startling, makes for an immersive, almost hypnotic mix of both Baltic and Balkan elements.

Expanding their sound palette even further on Skrejceļš, Tautumeitas retain the allure of ancient folksongs and present them in modern settings to exceptional artistic and musical effect. Energetic and lively, driven by the powerful voices and harmonies of all the singers in the group, this collection continues the ascent of Tautumeitas as one of the most original and talented ensembles in Latvia.

For further information, please visit the Tautumeitas website

Skrejceļš

Tautumeitas

TM03, 2022

Track listing:

1. Vīna ūtrai
2. Arājiņš
3. Panama
4. Guli guli
5. Muoseņa
6. Rūžiņu duorziņā
7. Spodrē manu augumiņu
8. Ritual
9. Mežā
10. Rise up!
11. Suņi rēja
12. Skrejceļš
13. Dziedat, meitas!

With Latvia’s location between multiple major powers, it is no surprise that centuries of wars have left their impression on the nation. Uncountable armies and soldiers have marched over the territory of Latvia, and Latvians were regularly dragged into larger conflicts. Consequently, there are hundreds (if not thousands) of Latvian songs about war and battle.

The Latvian men’s vocal ensemble Vilki have made it their mission to gather and record as many of these songs as possible. Since their beginnings in the early 1990s, Vilki have been regularly performing and recording songs of war, and they released their latest album – Bunkurs 13 – in 2021. The title – Bunker 13 – is also appropriate considering that this is the group’s 13^th album. The album gathers songs from throughout Latvia’s history – from ancient folk songs to modern military songs. The group performs songs with minimal instrumentation – songs are sung in unison, with the occasional harmonica, kokle, or accordion to assist.

Some listeners may be surprised to hear so many happy songs on the album. Notwithstanding Latvia’s tragic history, many of the songs here are about the preparation of going off to war, with a touch of bravado. The album includes some well-known songs like the World War I era Latvian Riflemen’s song ‘Mirdzot sķēpiem’, a song about a romance between a rifleman and a young maiden. Though this song does end on a mournful note (the maiden weeps at the rifleman’s grave). The dance-like ‘Jautrības brīžiem’ is about soldiers taking a break from battle to enjoy life, ‘Karavīram garlaicīgi’ is also a rousing song about what soldiers do in times of boredom.

Not all the songs are positive though – for example ‘Kurzemes pēdējie leģionāri’, about the last remaining Latvian Legionnaires in Kurzeme at the end of World War II. Uncertain of their future, the soldiers endeavor to remain hopeful in the face of certain destruction by Soviet forces, and Vilki’s performance of the song is poignant and heartbreaking. The song ‘Bunkurs 13’ is full of dark humor about the destruction of this particular bunker, but the men are determined to still fight for Latvia to the bloody end.

The modern era is represented by ‘Kājnieku dziesma’, a recently written soldiers’ marching song. Written by trainees at the National Defense Academy of Latvia, Vilki perform a full-throated interpretation of the song.

One does wish that the group had provided more information about the songs in the CD packaging (no booklet is included), especially considering the history of the songs. It would have been helpful to at least know which era the song was from, to provide some historical context.

The enthusiastic and authentic performances by Vilki on Bunkurs 13 breathe new life into these songs and help reveal the history of Latvia’s soldiers from throughout the centuries. Covering many different eras, with songs both joyous and bleak, the album reconfirms Vilki as premiere interpreters of Latvian war songs.

For more information, please visit the Vilki website

Bunkurs 13

Vilki

Lauska 2022

Track listing:

1. Es savai māmiņai
2. Zviegtin zviedza
3. Tumši bija, gaišis tapa
4. Uz tēviju!
5. Sakarnieku dziesma
6. 19.divīzijas dziesmas
7. Kurzemes pēdējie leģionāri
8. Ložmetējnieku dziesma
9. Artilēristu dziesma
10. Ai, bāliņi
11. Mirdzot šķēpiem
12. Izlūki
13. Jautrības brīžiem
14. Aizjāja latviets
15. Karavīram garlaicīgi
16. Kad ar uzvaru
17. Brīvības kareivji
18. Paliec sveiks, mans mazais draugs
19. Uz priekšu, latvieši!
20. Ikkatru sestdien’s vakaru
21. Bunkurs 13
22. Kājnieku dziesma

Latvian composer Jānis Ivanovs (1906 – 1983) has been called Latvia’s ‘greatest symphonist’, which is understandable, considering that he composed twenty-one symphonies during his lifetime – one of the most significant contributions to Latvian symphonic music by any composer. However, many of his symphonies have receded from view, and are rarely heard internationally.

The Latvian national record label Skani has been actively encouraging Latvian ensembles to record the music of Ivanovs not just to raise the composer’s profile, but also to bring his music to listeners worldwide. In 2021, the Latvian National Symphony Orchestra and composer Guntis Kuzma released two of Ivanovs’ later symphonies – nos. 15 and 16.

Symphony no. 15 (or Symphonia ipsa), composed in 1972, is, like many of the composer’s works, full of tension and conflict. Ivanovs, like many other Latvian composers, suffered under the Soviet system, particularly when trying to balance his own inner artistic visions with the demands of the State.

The first movement is hesitant, almost uncertain, with brief melodies appearing in the strings and wind instruments, which are then taken over by dramatic lines in the strings and harsh sounds from the brass instruments. The movement alternates between moments of tranquility and moments of tension and concludes on a somber note. The second movement ramps up the tension and is highly energetic and always in motion, and the third begins peacefully, but always with a sense of foreboding as it slowly builds to a dramatic, thunderous climax. The LNSO and conductor Kuzma imbue the with both the necessary tension and dramatic effect and maintain this all the way to the conclusion of the fourth movement, which returns to the hesitancy of the first movement as it slowly fades away.

Symphony no. 16, composed in 1974, continues the themes of the 15^th Symphony. This is the era of Brezhnev and the time of ‘stagnation’, and Ivanovs’ frustrations continue to manifest themselves in his music. Creeping foreboding permeates the first movement, as grave, somber chords give way to a more frantic, tense crescendo, which then segues into the galloping second movement, a whirlwind of motion filled with uncertainty which concludes with an unexpected drumroll. The third movement is again somber, even morose, but still rich with dramatic tension, and the LNSO reveal the many layers of Ivanovs’ musical language. The symphony concludes with the somewhat calmer fourth movement, ending on a grandiose, stately chord.

The CD booklet, with notes by musicologist Armands Znotiņš (including English translation), provides additional insight into the compositions and the composer, and offers fascinating historical anecdotes, for example after the failure of Ivanovs’ Symphony no. 9 and the criticism of it by Russian composer Dmitri Shostakovich, Ivanovs ceased all communication with him. 

Often bleak and full of angst, Ivanovs’ symphonies can be difficult to listen to, as they seem entirely devoid of any kind of hope or happiness. However, that is what makes the symphonies such compelling listening, as they do seem to offer windows into Ivanovs’ thoughts and soul, his struggle with the oppressive Soviet system. The LNSO and conductor Guntis Kuzma bring forth the dramaticism and deep tension in these works, providing for an immersive and enlightening listen. Ivanovs’ Symphonies nos. 15 and 16 have undeservedly faded into the background, and this release should go a long way to restoring them to a more prominent place in the sphere of Latvian symphonic music.

For further information, please visit the Skani website and the Latvian National Symphony Orchestra website

Ivanovs. Symphonies nos. 15 and 16

Latvian National Symphony Orchestra, conductor Guntis Kuzma

Skani, LMIC/SKANI 126, 2021

Track listing:

Symphony no. 15 Symphonia Ipsa in B-flat minor

1. I Moderato
2. II Molto Allegro
3. III Molto Andante (Adagio)
4. IV Moderato. Allegro

Symphony no. 16 in E-flat major

• I Moderato. Allegro Moderato
• II Allegro
• Andante. Pesante
• IV Allegro Moderato