Countryside living in Latvia is a bit romanticized. Clogged roads that are usually in pretty bad shape on the way there, feeding the mosquitos and ticks, the better than even chance you will have to deal with an outhouse, and the inevitable traffic jam on the way back to Rīga.

Still, one of the highlights of any countryside excursion is the chance to use the Latvian pirts (sauna). Simple in concept – water dropped on heated rocks makes for a steamy and sweaty experience. Though, granted, being in a small shed with the temperature at 50 degrees Celsius (or more), often times with people you might not know too well, and dressed only in a towel (or less) and periodically smacking each other with birch branches might not be everyone’s cup of tea.

The pirts has for centuries been an integral part of country life, and now, renowned Latvian post-folk ensemble Iļģi has provided a soundtrack for this ritual. Tur saulīte pērties gāja is meant to be a collection of songs to listen to whilst enjoying the full pirts experience – from the preparation of the pirts to the cooling off period afterwards.

Iļģi, made up of Ilga Reizniece (vocals, violin, kokles), Māris Muktupāvels (kokles), Gatis Gaujenieks (trough fiddle, bass guitar, as well as pirts sound effects), Egons Kronbergs (guitars), and Mārtiņš Linde (drums), have now released many albums with a particular theme – but this is perhaps one of their most unique and unexpected themes. Previous albums have focused on weddings, dances, and the Jāņi midsummer celebration, but who would have thought one could put together an album of songs about the pirts? Though, granted, some of the songs have but tenuous connections to the process.

Iļģi has long been known for songs about Latvian traditions and spirituality, and the pirts ritual remains an essential part of countryside life – it is a cleansing of the body and the soul, and is meant to give participants a fresh start, free of impurities. Perhaps it is logical that Iļģi dedicate an album to this ritual.

The first thing to know about Tur saulīte pērties gāja is that it is VERY mellow. It actually reminds me slightly of their album Totāri, which also featured quieter songs focused around the winter solstice. Though sometimes the pēršana process (the smacking of each other with birch branches) can get slightly violent, otherwise it is usually a very relaxing process. Being in a pirts is, in a way, almost like meditation, so it should follow that the music for such a process should also be meditative and calming. Listeners should certainly not expect the uptempo and raucous songs that have appeared on previous Iļģi releases.

That being said, the album, in its calm way, is quite enjoyable. It even features pirts sound effects provided by Gatis Gaujenieks, making listening to this album a more authentic experience. The songs are also notably longer on this release – many songs last more than six minutes. Also, some of the songs might even be considered in a minimalist style – for example, the instrumental “Ceļš”, which provides variations on one theme for six minutes.

As always, the texts of Iļģi songs come from ancient Latvian folk songs. The ritualistic aspect of the pirts process becomes clear with the first song, “Pirts kurināšana”, with the almost chanting nature of Reizniece’s vocals, enhanced by Gaujenieks’ sound effects, which give the song a mystical, perhaps even spiritual atmosphere.

Guest vocalist Irīna Mihailovska performs a duet with Reizniece in the song “Ceļojums”, one of the most enjoyable songs on the record. Mihailovska, who also appeared with Iļģi at their 30th anniversary concert in 2011, performing the part of Lelde from the Iļģi interpretation of Spēlēju, dancoju, is a welcome addition to the group, providing an enjoyable counterpoint to the vocals of Reizniece.

The closing song, “Paldies”, can easily become a favorite. The concept is simple – over the course of the song, everyone involved in the pirts process is thanked, even those who built the physical building and chopped the wood to be burned.

The sound effects and the mellow melodies give Tur saulīte pērties gāja an almost ‘new age’ feel, something to play in the background during yoga class. Though certainly relaxing and enjoyable, the uptempo Iļgi of Sēju vēju and Kaza kāpa debesīs wil not be found here, so listeners – don’t expect the shouts and fast tempos of other Iļģi songs. However, Iļģi have never shied away from experimenting and performing non-traditional music, and Tur saulīte pērties gāja is yet another example of the group’s eclectic style. In their long career spanning 30 years, Iļģi have always made interesting and unique music, and these songs will most certainly make the pirts experience more enjoyable!
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For more on this album to to the Iļģi homepage or follow Iļģi on Facebook.

Of all the difficult professions to hold in Latvia, one of the most difficult is being a professional musician. Between giving concerts, teaching students both privately and at the Latvian Academy of Music, recording albums – often without major financial reward – one must truly be an exceptional individual to be able to find time for all of this and still enjoy their work.

Some musicians do even more – such as countertenor Sergejs Jēgers – who even finds time to run a charity. Yet Jēgers found the time to record an album of sacred songs, mainly from the Baroque era, entitled Ave Maria, released in late 2011. All songs are backed by organist Diāna Jaunzeme.

This is now Jēgers’ fourth solo album – after his debut in 2006 with Ave Musica, a collection of baroque era songs, followed by a duet album in 2007 with saxophonist Artis Gāga entitled Duende, and interpretations of Latvian folk songs in 2009 accompanied by Sinfonietta Rīga – Dziesmiņās remdējos.

Quite coincidentally, Inese Galante fans that picked up her latest release, The Soul of Rīga (2011), will recognize a number of these songs, as some of them appear on both albums. It is actually quite interesting to hear and compare the two interpretations, particularly because both albums feature a singer accompanied by organ. Additionally, both records were recorded in the Rīga Cathedral, reaffirming the church’s status as the premiere venue for sacred recordings. In fact, in the liner notes, Jēgers notes that Galante suggested and inspired some of the selections on this CD.

Jēgers is clearly most at home singing Baroque melodies, and this collection is another testament to that – listeners will find both well-known and obscure songs on this collection. Perhaps the best known Ave Maria is the version by J. S. Bach and Ch. Gounod, which is also the first track on this CD – even though it is well known, Jēgers brings the necessary reverence and spirituality to his rendition, making is a particularly memorable one.

However, not all the songs are Baroque era tunes – there are a number of songs from later eras. These songs, such as Saint-Saëns’ Ave Maria and Franck’s Panis angelicus are also highlights of this collection. Panis angelicus being such a well-known melody that it can often times be difficult to bring something new to the song or to do the song justice, however Jēgers’ soaring voice brings new life to these works.

The most recent work on the CD – the Ave Maria by Russian guitarist and composer V. Vavilov, is perhaps one of the more interesting and enjoyable songs on the album. Though it is a “20th century” Ave Maria, the vocal lines and accompaniment certainly sound as if they were from the Baroque era or earlier.

One of my favorites on the album is the version of “What Power art Thou” by Henry Purcell (from the opera “King Arthur”), which, though it was composed in the late 17th century, its chromatic and staccato-like melody give it a very modern sound.

The liner notes have brief biographies of Jēgers and Jaunzeme in Latvian and English.

Ave Maria is yet another memorable release from Jēgers, who demonstrates, once again, his immense talent in performance and interpretation. This could very well be considered a companion recording to his first solo CD – Ave Musica, as both feature Jēgers performing (mostly) Baroque era sacred works. It is always intriguing to find out what Jēgers plans for his next recording – as both Duende and Dziesmiņās remdējos were both quite different and original. The voice of Jēgers, along with the organ played by Jaunzeme, make for a particularly vivid and enjoyable listen.

More information can be found on the artist’s website:www.sergejsjegers.lv