It is an ironic truism in the music world that a musician’s death always raises interest in the musician’s work. Album releases follow, sometimes with new music, more often re-releases of earlier works. The archives will be searched for previously unreleased songs and albums will undoubtedly follow. In a somewhat perversely positive way, songs that might have never seen the light of day while the musician was alive are then brought to listeners.

Case in point – pianist, vocalist and composer Uldis Stabulnieks.  The composer of a treasure trove of songs, Latvia mourned his passing on September 27, 2012. By far his most beloved composition was the song ‘Tik un tā’, with words by Māra Zālīte, which, considering that the song was released in the early 1980s, was a song of love for Latvia (unusual as it was to even mention ‘Latvia’ in songs during Soviet times).

With just this one song, Stabulnieks earned his star in the constellation of Latvian music. However, right as he reached the zenith of his popularity, Stabulnieks seemed to drift into obscurity. Though still active as a composer and performer, his creative output seemed to diminish in quantity through the years – in the 1990s and beyond the composer almost completely disappeared, though he still performed occasionally at hotel bars in Riga.

The release of the posthumous Es mīlu dzīvi skaistoat the end of 2012 was a pleasant surprise as it didn’t seem to be common knowledge that Stabulnieks was still actively composing and recording songs. The most striking thing about these recordings is that no time at all seemed to have gone by – the songs contained on the CD could have just as easily come from the 1980s as after the turn of the century (these songs were recorded from 2005 to 2007). Having not lost a bit of his flair as a musician and a singer, it is quite the pity that these songs needed to wait for his death before they could be heard.

The scat vocals of the title track ‘Es mīlu dzīvi skaisto’ (lyrics by Jānis Rokpelnis), along with Stabulnieks’ creative vocal gyrations giving the song a particular joie de vivre corresponding with the lyrics of the song. The performance shows that Stabulnieks had not lost any energy or enthusiasm in his later years, or even humor, with which the music is imbued.

The song ‘Kā ūdens nemitīgs’ (lyrics by Jānis Ziemeļnieks) is a more somber song, with Stabulnieks reaching a crescendo on Ziemeļnieks’ text ‘likteni, kas spēcīgs, spožs un skarbs’ (a fate that is powerful, vivid and bitter).

All the songs feature Stabulnieks on piano (or synthesizers) and vocals, and though Stabulnieks is better known as a composer, his piano talents cannot be overlooked – such as on the song ‘Mazs putniņš’ (lyrics by Vizma Belševica), with the melancholic piano performance providing a lovely background for the wistful lyrics, particularly the repeated refrain ‘tu nāc, tu ej’ (you come, you go).

Stabulnieks’ humor is once again on full display when he sings about cheese in the song ‘Sieru dziesmiņa, dziedama ap Jāņiem’ (lyrics by Guntars Godiņš). With a playful piano background, Stabulnieks sings about saying goodbye to cheese rolling away ‘kas stipri smaržo un kas nikni ož’ (that has a strong scent and smells bad)

Stabulnieks also composed five different songs with the same text by Jānis Sudrabkalns in ‘Piecas variācijas par Jāņa Sudrabkalna tēmu “Tāls vakars”’. Deftly moving through various styles and tempos, Stabulnieks displays a range of emotions and feelings that distinguishes all of the variations. Ranging from somber to humorous, each song has a different perspective on Sudrabkalns’ poetry.

One of the best known of poems by Aleksandrs Čaks, one of the most popular 20th century Latvian poets, is his love letter to Riga, and on this CD Stabulnieks puts music to ‘Vecā, sirmā Rīga’, with its powerful words “Ak, mana Rīga, vecā, sirmā Rīga, Tu manu sirdi augšup nes!” (Oh my Riga, my old gray Riga, you carry my heart upwards!) The earnest and sincere words by Čaks are given a fitting musical form in this celebration of the city.

Some might say that one of the reasons Stabulnieks faded from public view is the fact that his style did not change much with the times – where other composers like Raimonds Pauls and Imants Kalniņš explored new musical avenues and worked with younger singers, Stabulnieks continued to compose in his own style and stubbornly sang almost all of his songs himself. That is perhaps what is so commendable and enjoyable about this collection, as these songs contain some truly beautiful moments, like in ‘Zviedru vārtu romance’ – the song would have been the worse off had it been someone besides Stabulnieks singing. Though it took his passing before it was released, the collection of songs on Es mīlu dzīvi skaisto still show that Stabulnieks had not lost a bit of his creative energy and his obscurity was undeserved and unfortunate. Fortunately, Stabulnieks’ talents will not soon be forgotten, and Es mīlu dzīvi skaisto is a fitting epitaph to this composer’s career.

A particularly notable collaboration recently in Latvian classical music is composer Gabriel Jackson working with the State Choir Latvija, conducted by Māris Sirmais.

Working together, the artists have released the CD A ship with unfurled sails, featuring the choral music of Jackson, and, among the ten works on the CD, six are first recordings.

According to the State Choir Latvija website, Jackson, a leading British composer of sacred choral music, began his collaboration with choir in 2007, when the choir premiered a number of his works. Jackson has also been interested in Baltic choir traditions, so it would seem natural that the choir and Jackson would have a successful cooperation.  Jackson has, on a number of occasions, been awarded the British Composer Award for his choral works. A ship with unfurled sails, recorded in 2010 at the St. John’s Church in Rīga, is a testament not just to Jackson’s choral composition prowess, but also the State Choir Latvija’s place among the best choirs in the world.

Though most of the compositions on the CD are of a sacred nature, there are some secular works as well, such as ‘The Voice of the Bard’ by famed British poet William Blake. Blake’s poems are often full of vivid imagery and mysticism, and ‘The Voice of the Bard’ is no exception. Gabriel’s music begins with a tense, anxious introduction, repeating the words ‘hear’ and ‘voice’ a number of times in a unison melody. The titular Bard, who may very well be Blake himself, expressed dramatically through the voices of the male singers, calls on the Earth to return, and ‘Arise from out of the dewy grass’. This is then followed by the somber lyrics ‘night is worn, and the morn rises from the slumberous mass’, which is accented by the soaring soprano solo of Inese Romancāne.

‘Now I have known, O Lord’, based upon the poetry by Al-Junaid (also known as Junayd of Baghdad) is a calm, reflective work that is full of reverence and spirit. Al-Junaid was a Persian Muslim mystic of the 9th century. As the work builds to its culmination, Al-Junaid’s revelation is expressed as a joyous celebration, particularly the final lines of the text, ‘In wondrous and ecstatic Grace I feel Thee touch my inmost ground’. The choir masterfully brings forth the necessary gravity and veneration to the music and the words, making this spiritually deep work particularly memorable.

Jackson’s ‘Missa Triueriensis’, composed in 2005, based upon Latin mass texts, and consisting of five parts – ‘Kyrie’, ‘Gloria’, ‘Sanctus and Benedictus’ and ‘Agnus Dei’ is also a very . ‘Kyrie’ begins with the women’s voices singing ‘Kyrie eleison’ (Lord, have mercy), a somber beginning that continues with the altos, tenors and basses when singing ‘Christe eleison’ (Christ, have mercy), with the full choir culminating in the final ‘Kyrie eleison’. In contrast, the ‘Gloria’ section begins with a dramatically expressive ‘Gloria in excelcis Deo’, and then continues in a quieter and melodic fashion. The ‘Sanctus’ section’s beginning is meditative, then punctuated by some louder moments, and concludes with the expressive and memorable solo by soprano Nora Vītiņa, singing ‘Benedictus qui venit in nomine Domini’ (Blessed is he who comes in the name of the Lord).

Joining the choir for the final work on the CD, ‘Ave regina caelorum’ is Latvian guitarist Kaspars Zemītis, whose guitar work in the song gives the composition a rather dramatic sense of contrast. The electrical guitar, almost like a rock solo, initially seems discordant with the sacred vocal performance, but over the course of the work’s twelve and a half minute duration, perhaps a bit surprisingly, blends in rather seamlessly with the singers and gives the work a much broader palette of colors than it might otherwise have had. Particularly memorable is the interplay of the guitar with the soprano solo by Inese Romancāne. Zemītis, with a solo that reminds one more of the guitar pyrotechnics of musicians like Jimi Hendrix or Edward Van Halen, gives the ‘Gaude virgo gloriosa’ section an almost ethereal quality, a kind of rapturous illumination. Jackson, unafraid to mix styles that might seem contradictory, leads the listener through a journey full of highs and lows.

The extensive CD booklet features texts and English translations for all the songs, as well as detailed notes on each work and biographies of the choir, conductor Māris Sirmais and guitarist Kaspars Zemītis.

The State Choir Latvija continues to hit new highs with each passing year, thanks to not just the immense talents of each singer, but the visionary conducting of Māris Sirmais. Unafraid to be enclosed by musical boundaries, the choir has formed a memorable bond with composer Gabriel Jackson on A ship with unfurled sails, a collection of performances that will entrance and enlighten listeners. This singular release confirms, yet again, the talents of the composer and the choir, and is a worthy entrant in the field of modern choir music.

More information on the State Choir Latvija website – http://www.koris.lv and the Hyperion website – http://www.hyperion-records.co.uk