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

Documentary filmmaker Dzintra Geka, director of films such as Sibīrijas bērni (The Children of Siberia – 2001), Gvido Zvaigzne (about the cameraman killed in the 1991 Barricades confrontations in Riga – 2011), Maršruts: Ķekava-Omskas apgabals 1949 (about the deportations of 1949) has made many films regarding Soviet terror and its destructive effect in Latvia, particularly on children. Geka has most recently turned to the theme of the children of exiles – those that fled Latvia during World War II and spent time in Displaced Persons camps. That film, entitled Dieva putniņi (God’s Lost Sparrows) with a running time of approximately 90 minutes, was released in 2015 by the National Film Centre of Latvia and is now available on DVD.

Most of the refugees from Latvia ended up in DP camps in Germany. The Latvians would call themselves dīpīši (a play on the letters D and P) or “Dieva putniņi” (Little Birds of God). The film traces the experiences of many of those who lived through these times – fleeing Latvia, life in the DP camps, then further onwards in their new adopted homes. The most fascinating aspect of the film are the stories about life in the DP camps – how sizable Latvian communities formed and how they kept cultural traditions (singing, dancing, theater) alive, and how culture even thrived, even in these difficult conditions. Also fascinating are the stories about how ordinary Germans were thrown out of their houses to give the refugees a place to stay – as a result, the Germans considered these DPs “Deutschen parasiten” (Germany’s parasites).

The film is mainly a collection of recollections by those who experienced the war in Latvia and fled as the Soviet Army advanced. There is no narration, and the stories are interspersed with documentary footage of the destruction of Latvia during the war.

The film includes dozens of testimonials from exiled Latvians from all over the world, including former Latvian president Vaira Vīķe-Freiberga and leader of the Čikāgas piecīši group Alberts Legzdiņš (the film follows him in Germany as he attempts to locate his old school).

One of the most compelling storytellers in the film is Andrejs Vētra, the son of Latvian opera singer Mariss Vētra. Gregarious and expressive, Vētra’s stories are engrossing and, at times, tragic. Mariss Vētra (real name Morics Blumbergs), was married to a woman of Jewish ancestry and her mother was forced to live in the Riga ghetto during the German occupation (where she was later shot). Andrejs Vētra also provides one of the most memorable moments in the film when he thanks the filmmakers for not correcting his Latvian and then, in no uncertain terms, expresses what he thinks about those who constantly correct his language (a feeling that is likely shared by many Latvians whose language has become weaker due to a lack of practice). One of the most touching moments in the film is a visit to Mariss Vētra’s grave, where Andrejs and the film crew begin to sing the Latvian folk song “Pūt, vējiņi”, which then cuts to a Song Festival performance of the same song by thousands of singers.

Though the film is mainly about the experiences of Latvian exiles in the DP camps, it does not end there. Geka also films some of the storytellers about their experiences in their new homes, and how that has affected them and the differences between them and Latvians that stayed in Latvia after World War II. It covers many of the difficulties of exiled life (including raising children in a Latvian style) and attempts to return to and reintegrate in Latvia after a long period of being away. For example, one of the commentators mentions the “insularity” of the American Latvian community and how he found it difficult to engage with them – “you are either engaged or not … I felt that I had become an American.” Jānis Kukainis, director of PBLA (World Federation of Free Latvians) comments “I am an American because I think like an American … Americans think we can do everything and do it faster, but Latvians often only think about why you can’t do something” and also comments on the loneliness of diaspora Latvians who return to Latvia and find it difficult to make friends.

Dzintra Geka has now focused on the lives of children in Siberia (Sibīrijas bērni), exile children (Dieva putniņi), and intends to continue this documentary project with a film about children growing up in Soviet Latvia.

Still, the lack of narration does mean that the film, at times, loses a bit of context. Besides one brief title page describing the situation at the end of the war, there is little further description of the historical situation (besides the individual experiences) – someone who has little knowledge of World War II and the displacement that follows may find the film a challenge to follow at times – as it is a collection of reminiscences there is only the vaguest of narratives. Also, the storytellers are never identified (only at the end of the film are they listed). Though this is clearly the filmmaker’s choice – the focus should be on the story and the events, not on the person – this is a disservice to the interview subjects. Also, the historical footage is not identified, so one is never quite sure where the film is from and what exactly it is showing.

Dzintra Geka is married to Latvian composer Pēteris Vasks, and his music provides the soundtrack for the film. Vasks often has themes of war and destruction in his compositions, particularly in his choir music. His choir work “Zīles ziņa” is often quoted in the film and the ominous choir singing provides an appropriate backdrop for some of the horror stories that are told. For whatever reason, the credits only list Vasks as the music composer – that is, the individual works and performers are not identified, unfortunately.

The DVD is PAL Region 0 and should play on almost all DVD players worldwide. Be advised that the English language version of the film – God’s Lost Sparrows – has been released separately (the Latvian version of the film does not have English subtitles, so if English subtitles are essential, you will need to pick up the English version). The English subtitles are provided by Latvian American journalist Kārlis Streips.

Dzintra Geka’s Dieva putniņi, besides being one of the most important Latvian documentaries, is also an absorbing, thought provoking, and often heartbreaking living history of World War II era Latvian refugees. At times touching, at times harrowing, the film simply lets its subjects speak for themselves and tell their own stories, providing for an engrossing and captivating experience. An oft overlooked aspect of the Latvian experience, Dieva putniņi brings to light one of the most important chapters of Latvian history in the words and experiences of those who lived through these dark times.

For further information, please visit the Children of Siberia Fund page.