DaGamba are an instrumental ensemble that brings together both Western and Eastern music, as well as classical and popular music, to create unique musical pastiches formed of individual parts from various sources. On their second album Recycled, they bring together a wide variety of styles, from classical to rock to traditional Persian music.

Dagamba formed in 2011, and now the group includes Latvians Valters Pūce and Antons Trocjuks on cello, Lithuanian pianist Dainis Tenis, and Iranian percussionist Hamidreza Rahbaralam (who plays traditional instruments like the daf, udu and dohol). The musicians’ first collaboration was on an arrangement of Carl Orff’s “O Fortuna” from his work “Carmina Burana” (which is, unfortunately, not included on the album) and their unique blends have resonated not just in Latvia, but internationally as well (the group also performed as part of the Glastonbury Festival).

The title of Recycled is appropriate, as the group take existing material and reuse and refurbish it, creating something entirely new. For example, the group takes elements from Russian composer Sergei Prokofiev’s music for the ballet “Romeo and Juliet” and combine it with the theme music from the 1980s TV show “Knight Rider” in the work appropriately entitled “Prokofiev the Knight Rider”. These two dramatically disparate elements are melded together seamlessly by DaGamba, creating a unique synthesis. The Kinght Rider theme performed on cello gives it an added tension and urgency.

It may seem unusual to hear the works of Mozart and rock group Radiohead together, but DaGamba combine elements from Mozart’s “Requiem” and the Radiohead song “Paranoid Android” into a work titled “Paranoid Amadeus”. Though composed centuries apart, the sadness of Mozart’s “Lacrimosa” and alienation of Radiohead’s “Paranoid Android” flow together in an engrossing work of melancholy.

DaGamba’s Eastern influences and the talents of percussionist Rahbaralam come together in the work “Bach Goes to Iran”, which, as its name would indicate, combines the music of Johann Sebastian Bach with the music of Iran. The work begins with the well-known Prelude No. 1 by Bach, then with a dramatic mid-stream tempo and style change, naturally and organically changes into Persian motifs.

The group created the work entitled “It’s OK, it’s Latvia” by infusing elements from the Latvian rock band Pērkons’ song “Gandrīz tautas dziesma” (music by Latvian composer Juris Kulakovs) and perhaps the best known composition by Czech composer Bedřich Smetana – Vltava (or Moldau) from his work Má Vlast, music that embodied the spirit of the desire for Czech independence. Similarly, Kulakovs’ music often had national patriotic elements (though, considering that the 1980s were still well within the Soviet era, these patriotic elements were obliquely presented through the almost absurdist lyrics of Māris Melgalvs). These similarities allow the music of Smetana and Kulakovs to be fused together into a cohesive and catchy performance.

The packaging of the album is very limited – one wishes that they had provided a bit more detail on their choices, and why they put some of the compositions together. Also, the actual compositions that were “borrowed” are not identified (beyond naming the composer or group that performed them), so it is up to the listener to identify the works specifically. In some cases, the music is quite recognizable, but in some other cases it may not be so easily identified – some listeners might not be as familiar with the works of, say, Prokofiev.

Some listeners may be shocked by these occasionally incongruous combinations, but others will appreciate and enjoy the creative and inspired arrangements on DaGamba’s Recycled. Providing a fresh take on many well-known melodies, some hundreds of years in age, these modern interpretations and arrangements make them as relevant today as they were in centuries past. Merging the music of various composers and continents and centuries, DaGamba’s talented and skilled members provide new perspectives and viewpoints on these compositions. Using sources as diverse as Rachmaninoff and Muse, Handel and Celtic music, Beethoven, among many others, DaGamba’s Recycled is at once familiar and fresh, altogether an enjoyable and entertaining listen.

For further information, please visit the DaGamba website.

Recycled

DaGamba
DaGamba, 2015

1. Aquarium
2. Prokofiev the Knight Rider
3. Irish Sarabande
4. Bach goes to Iran
5. Paranoid Amadeus
6. Hysterical Rachmaninoff
7. Ode to Joy
8. Ruhballad
9. It’s OK, it’s Latvia
10. Solveig’s Song

The Latvian Music Information Centre is a Latvian state organization whose “focus of activity is Latvian contemporary and classical music, composers, performers, concert organizers and devotees”, according to its website. A recent noteworthy and ambitious project is to, in collaboration with the Latvian concert agency Latvijas koncerti, regularly release CDs of Latvian artists and composers to provide a showcase for the exceptional musical talent in Latvia today. All recordings are released under the Skani label, and the plan is to release multiple recordings every year.

The first CD released was E(GO), a collection of the works of Latvian composer Andris Dzenītis (also the first entry in the series “Latvian composers”). The second CD to be released (and the first entry in the series “For the Latvian Centennial”) focuses on modern Latvian choir music. It is entitled The Fruit of Silence and features choir works by Latvian composers performed by the Latvian Radio Choir and conducted by Sigvards Kļava.

The Latvian Radio Choir, who celebrated their 75^th anniversary in 2015, has long been known for its masterful and professional interpretations and performances of modern choir music and has always had a close collaboration with Latvian and international composers. They have recorded CDs of the music of Pēteris Vasks, Imants Kalniņš, Artūrs Maskats, Estonian Arvo Pärt, among many others. In preparation for the approaching Latvian Centennial in 2018, the choir recorded seven compositions by both young and established composers for the release The Fruit of Silence.

The collection begins with Kristaps Pētersons’ work “Incessant Jealousy”, which as its text has William Shakespeare’s Sonnet No. 40 (“Take all my loves, my love”). Shakespeare’s text, with a bitterness bordering on anger, provides the inspiration for Pētersons’ work. The work features soloist Dace Strautmane, whose performance combines both sadness and resentment, as the rest of the choir provide a discordant backdrop appropriate for this text about someone struggling with their emotions.

Composer Mārtiņš Viļums’ contribution to this collection is “La temps scintille” (Time Scintillates), a quiet and ruminative work that combines texts by poets Paul Valéry and Rainer Maria Rilke with sonic and vocal experiments. The work is Viļums’ contemplation of life – it glitters and flashes, and the weaving of the various voices is like the flow of thoughts within one’s subconscious.

Maija Einfelde’s music is often harsh and abrasive, such as her award winning work “Pie zemes tālās” (At the Edge of the Earth), and has had a long and fruitful collaboration with the Latvian Radio Choir. The choir performs Einfelde’s “Lux Aeterna” (text from the Roman Catholic requiem mass), an arrangement of the work for choir and Tibetan bells. Using few words, Einfelde has composed a work of great power and depth.

On this collection, composers Ēriks Ešenvalds and Pēteris Vasks, both greatly influenced by spiritual matters, have both provided works inspired by Mother Theresa. Ešenvalds’ work – “A Drop in the Ocean” – combines texts by Theresa, Pater Noster (The Lord’s Prayer), and St. Francis of Assisi and results in a deeply spiritual work. Vasks’ “The Fruit of Silence”, which also uses a text by Theresa, begins with a simple, slow progression of single piano notes (performed by renowned Latvian pianist Vestards Šimkus), with the choir joining in later with their meditative yet enrapturing singing.

There are also works by composers Juris Karlsons (“Le lagrime dell’anima”) and Santa Ratniece (“Fuoco Celestis”). The CD booklet includes extensive notes in Latvian and English on the choir, the guest artists, the composers and each individual work, as well as the text of the works.

The Latvian Radio Choir once again displays their mastery of modern choir music on The Fruit of Silence. Conductor Sigvards Kļava leads the choir and the listener on a journey of some of the most distinctive and memorable Latvian choir compositions. Each composition is unique and noteworthy, displaying not just the talent of Latvian composers, but also their diversity and adeptness in composing in various styles. The Fruit of Silence is a welcome and exceptional recording, and a worthy addition to the Skani series.

For further information, please visit the Latvian Radio Choir website at www.radiokoris.lv and the Skani record label website at www.skani.lv

The Fruit of Silence

Laimas Muzykanti
Latvian Music Information Centre, SKANI039, 2015

1. Incessant Jealousy – Kristaps Pētersons
2. Lux Aeterna – Maija Einfelde
3. Le lagrime dell’anima – Juris Karlsons
4. Fuoco Celestis – Santa Ratniece
5. A Drop in the Ocean – Ēriks Ešenvalds
6. Le temps scintilla… – Mārtiņš Viļums
7. The Fruit of Silence – Pēteris Vasks

Laimas Muzykanti, the Daugavpils based post-folk group, have released their latest CD entitled Rodi (or ‘Relatives’ in the Latgalian dialect of Latvian). Founded in 1995 and led by singer, arranger, kokle player, accordionist and general multi-instrumentalist Artūrs Uškāns, the group has, over its twenty year history, performed mainly Latvian and Latgalian folk songs both in traditional ways as well as in more contemporary arrangements.

Artūrs Uškāns is joined by Inga Zeile on vocals and fiddle, Kristīne Kārkle on vocals and fiddle, Inta Uškāne on vocals, flutes and percussion, Armands Varslavāns on guitars, Matīss Uškāns on vocals and drums and Valdis Rundzāns on bass guitar.

The record begins with Laimas Muzykanti’s version of the Latgalian folk song “Vokors īt” (a song also performed by folk group Laiksne on their album Putra), a song about the approaching evening. From its soothing, slightly melancholic accordion introduction, later joined by guitars and flutes, Uškāns’ arrangement of this song turns it into a call and response style – where the women express their sadness about the men leaving, but the men respond that the women should not be sad – they will return to the homestead in the evening (then, later in the song, reversing the roles).

The group takes a more contemporary/world music approach to their arrangement of the folk song “Ķēvīt, mana svilpastīte” (which on the album is combined with the “Baraboļa” dance). The song is performed at a frenetic pace, perhaps appropriate considering that it starts out about a simple-minded horse that runs from Riga to Jelgava. Concluding the song with the “Baraboļa” dance brings the piece to an appropriately energetic conclusion.

Guitars with a hard rock sound begin “Upe nesa ozoliņu”, another vigorous outing from the group. This is a different melody than the most commonly sung version of this folk song (which is much calmer), but Laimas Muzykanti’s version of it is memorable for its spirited performance. As the group describe themselves in the notes – “the group’s style varies considerably, just as folk songs vary widely in their character and content” – leaving performers free to interpret songs as they wish.

Both “Upe nesa ozoliņu” and the group’s arrangement of the folk song “Gauži raud saulīte” feature the LLB (Latvia Lithuania Belarus) Ethnographic Orchestra. The orchestra adds many new and varied instruments to the mix – including bagpipes, bayan, dulcimer, among many others. As the song swells to a crescendo, the mix of the instruments and folk singing provides for an emotional high to this sad song that implores the sun to stop its crying, as God will provide more of what has been lost.

Though most of the album is folk song arrangements, Artūrs Uškāns also displays his own songwriting talent on the song “Sorgeņģeļs”, a wistful ballad. Beginning with just vocals and guitar, then building in intensity as the song progresses, the song is a fitting conclusion to the album, and fits in nicely and naturally with the rest of the folk song arrangements.

The CD packaging includes notes on the group and each song in both Latvian and English (though, unfortunately, does not include the lyrics to the songs). Additionally, in keeping with the theme of the album – “relatives” – there are also notes about what a gathering of relatives in Latgale is like (including not just catching up, but drinking beer and discussing politics until the women begin a song and, over the course of the night, many long forgotten songs are sung).

Deftly moving between various styles, but at all times engaging and enjoyable listening, on the album Rodi Laimas Muzykanti and leader Artūrs Uškāns reaffirm their place as one of the most notable and talented folk groups in Latvia. Weaving unique Latgalian elements through many of their songs, and using both traditional and non-traditional instruments, the album is a particularly satisfying listen. One hopes that after this enjoyable visit by the relatives that they return soon!

For further information, please visit the Laimas Muzykanti Facebook page.

Rodi

Laimas Muzykanti
Lauska LAUSKA CD056, 2015