The Sinfonietta Rīga chamber orchestra has been led by conductor and artistic director Normunds Šnē since the ensemble was founded in 2006. One of the goals of the ensemble is to promote new orchestral compositions by Latvian composers, and they have worked with dozens of Latvian composers throughout their decade and a half of performance.

A recent example is a collection of works by composers Andris Dzenītis, Platons Buravickis, Linda Leimane, and Ruta Paidere, released at the end of 2021. The disparate and eclectic compositions reveal the depth and variety of modern Latvian academic music.

Andris Dzenītis, a composer in his mid 40s, has, in his many decades of composition, already created a large and diverse body of work. His contribution to this collection is the comparatively brief (six minute) Euphoria, an overture for chamber orchestra. Though a shorter work, it presents a concentrated and distilled example of Dzenītis’ musical vision. The work is meant as a tribute to the late composer Pēteris Plakidis, whose orchestral works also had expansive, dramatic elements. Euphoria begins in a celebratory mood, but then quickly dissolves into an uncertain, tense atmosphere – perhaps this is meant as Dzenītis presenting both the actual euphoria, as well as the many after-effects of euphoric feelings.

Platons Buravickis, still in his early thirties, has already established himself with his compositions, at times experimental, at times romantic, his works encompass a broad range – from intimate chamber music pieces to large scale orchestral works. This collection presents his Concerto for Saxophone Plastmases temperatūra (Temperature of Plastics) featuring saxophonist Aigars Raumanis. The work has an environmental theme – it could be interpreted as a warning to humanity about pollution. Accordingly, the work has an ominous, foreboding tone – punctuated by Raumanis’ saxophone performance.  Raumanis has both flighty, delicate solo phrases (perhaps representing birds?) which alternate with interactions with the harsh, crashing percussion of the orchestra. There is barely any respite from the harshness throughout the work, even to the very end, when the work crescendos into what sounds like an alarm, then ends suddenly.

Composer Linda Leimane’s works are full of emotion and drama, such as Ray-Bows, included on this collection. Neither the CD booklet nor the composer’s website offers much in the way of programmatic notes (save for the score, which says ‘Brutally, hearts of iron’) so it is entirely up to the listener to interpret the work for themselves. The work is filled with dramatic tension, and is in a near constant state of motion, with frequent rising arpeggios, perhaps suggesting flight.

Hamburg-based Latvian composer Ruta Paidere’s work Tempera is a contrast to the other works on this collection – Paidere’s composition is calmer, quieter, with a kind of meandering quality. Paidere builds textures using the sounds of the orchestra, layering one on top of another, occasionally harmonious, but occasionally discordant. There is a sense of unease throughout the work, as small changes in tone have an unsettling effect, a sense of unsteadiness. The work has a long, gradual crescendo before quietly dissipating at the conclusion.

Sinfonietta Rīga and conductor Normunds Šnē reveal the many layers and textures of these four works. Technically difficult (requiring a skillful orchestra, such as Sinfonietta Rīga), deep, dramatic – these compositions by Andris Dzenītis, Platons Buravickis, Linda Leimane, and Ruta Paidere display both a broad spectrum of sounds and emotions, as well as compositional skill and creativity.

For further information, please visit the Skani website and the Sinfonietta Rīga website.

Dzenītis, Buravickis, Leimane, Paidere

Sinfonietta Rīga, conductor Normunds Šnē

LMIC/SKANi 130, 2021

Track listing:

1. Euphoria – Andris Dzenītis
2. Concerto for Saxophone Plastmases temperatūra (Temperature of Plastics) – Platons Buravickis
3. Ray-Bows – Linda Leimane
4. Tempera – Ruta Paidere

Latvian actress Raimonda Vazdika has had a long and distinguished career, which is still going strong after many decades in theater and performance. Besides being an accomplished actress, someone who has performed many kinds of roles – from small, independent theaters to larger national venues, she also writes poetry and songs, and has recorded multiple solo albums and has multiple published poetry collections.

Her albums include 2001’s Labākās Dienas (which features what may be her most popular song, the wistful and touching ‘Apsoli man neko’), and Vazdika returned in 2022 with her latest album – Vēstules rokrakstā smalkā – a collection of fourteen songs recorded between 2018 and 2020.

Joining Vazdika are the musical members of her “Dzīve virs jumtiem” show – guitarists Ilze Grunte (who also arranged all the songs) and Arnolds Kārklis, Uģis Vītiņš on synthesizers, bass guitarist Ivo Stankevičs or ‘Skrips’ (who sadly passed away in 2021) and drummer Mārtiņš Linde, all of whom work together to bring Vazdika’s dreamy, deeply personal songs to life.

For her songs, Vazdika uses not only her own poetry, but also the works of modern Latvian poets, such as Imants Ziedonis. This is used to great effect in songs like ‘Kaija’, Ziedonis’ ode to a seagull. Vazdika’s interpretation of the poetry results in a gently flowing and melodic performance. This is a newer recording of an older song (the song first appeared on Labākās Dienas, but that version was performed by actor Ivars Stonins).

The theme of birds and flight appear throughout the album, perhaps reflecting Vazdika’s free spirit, and can be heard in songs such as the reserved and contemplative ‘Pirms dzērves projām dodas’ (poetry by Ziedonis) and the spirited ‘Putnu būrītim jumts nobraucis’.

Themes of melancholy and sadness are present throughout many of the songs, such as the undulating ‘Dziļi aprakts viss’, and the somber ‘Laika logs’. However, there are uplifting moments, such as on the waltz-like ‘Visu labu’ and the light French touch on ‘Pirmspēdējais valsis’. There are hopeful interludes as well, such as ‘Manam sargeņģelim’, a tender, fragile song about a guardian angel.

At times refined and delicate, others melancholy and pensive, the songs on Vēstules rokrakstā smalkā are woven together by Raimonda Vazdika’s rich alto voice and expressive vocals. Vazdika’s words reveal a lifetime of experiences, with the occasional twinge of bitterness, but not lacking in optimism. Backed up by a talented group of musicians that, through Ilze Grunte’s arrangements, create an immersive musical atmosphere, Vazdika’s intimate and melodic songs make for engrossing and captivating listening.

For further information, please visit the Lauska Raimonda Vazdika page.

Vēstules rokrakstā smalkā

Raimonda Vazdika

Lauska, CD07, 2022

Track listing:

1. Kaija
2. Pirms dzērves projām dodas
3. Putnu būrītim jumts nobraucis
4. Pēc ziemas nāk ziema
5. Ir tādi cilvēki
6. Pasaciņa
7. Nav zināms
8. Laika logs
9. Pirmspēdējais valsis
10. Dziļi aprakts viss
11. Visu labu
12. Tas skumjais klauns
13. Manam sargeņģelim
14. Nav jārunā

The Latvian national music label – Skani – actively promotes Latvian musicians, composers and their compositions. Perhaps it is not surprising that, considering the wealth of talent in Latvia, Skani often release a dozen or more albums every year, showcasing many different Latvian talents. Skani also bring attention to composers who might not be as well known today. One such composer who has long deserved renewed attention is Marģeris Zariņš.

Zariņš, who lived from 1910 to 1993, perhaps hit his creative peak in the 1960s. Zariņš was one of the first composers in Latvia to incorporate elements of jazz music and even popular music in his compositions, and also used non-traditional instruments like the saxophone and electric guitar. Zariņš perhaps even paved the way for composers like Raimonds Pauls and Imants Kalniņš who revolutionized Latvian popular music in the 1960s and 1970s. Zariņš even mixed in disparate elements like Baroque themes and music inspired by Japanese and French culture. To help raise the profile of this eclectic and creative composer, in 2021, Skani released an album of Zariņš’ works, performed by Kremerata Baltica (the Baltic youth string orchestra founded by violinist Gidon Kremer) and conducted by Andris Veismanis.

Mezzo-soprano Ieva Parša, one of the most distinguished performers of modern Latvian academic music, joins Kremerata Baltica in a performance of Zariņš’ ‘Partita baroka stilā’ (Partita in Baroque Style), a cycle of songs that melds Baroque, French and modern elements. At times playful, other times somber, the songs begin firmly rooted in the Baroque, with the modern, jazzy elements on display in the final song ‘Pavana’. Parša adds the needed lighter touches, as well as more serious interpretations to make this a particularly memorable performance of the song cycle.

Parša also sings on the second song cycle on the record – ‘Carmina antica’, with song texts from Ancient Greek literature (sung in Latvian). Here Parša’s voice interplays with the other instruments in the ensemble, particularly the flute, to create a kind of duet. This work has a more theatrical nature, with Parša expressing a range of emotions and thoughts with her voice, and the orchestra also adding to the narrative with their performance, particularly in the dramatic third song – ‘Traģiskā monodija no Mēdejas’ (Tragic Monody from Medea).

Zariņš also wrote larger scale works, including multiple organ concertos, the first two of which are included on this album, both of which feature organist Aigars Reinis. While many Latvian composers are known for their bleak, harsh music, Marģeris Zariņš stands out as someone who wrote uplifting, energetic music full of vitality. Such is the first organ concerto – ‘Concerto innocente’, where Reinis provides a rousing performance, and the classic organ is joined by the modern electric guitar. Such is Zariņš’ compositional skill that he can bring together these two rather disparate instruments and create a fluid, flowing work that neither instrument sounds out of place with the other.

The second organ concerto – ‘Concerto triptichon’ is weightier, more pensive. However, this concerto has a more defined melodic line – like something out of popular music, and the performance of Kremerata Baltica elevates Zariņš’ music, revealing melodic details and the deep, personal nature of this composition.

In many ways, Marģeris Zariņš was a revelatory, revolutionary composer, quite capable of composing some truly beautiful music. Bridging the two halves of the 20th century, he found inspiration throughout musical history and the world and created memorable works that remain compelling listening today. Kremerata Baltica and conductor Andris Veismanis, along with guests Ieva Parša and Aigars Reinis, have recorded a revelatory album that hopefully brings the music of Marģeris Zariņš to a worldwide audience.

For further information, please visit the Skani website

Marģeris Zariņš

Kremerata Baltica, conductor Andris Veismanis

LMIC/SKANi 128, 2021

Track listing:

Partita in Baroque Style for mezzo-soprano and instrumental ensemble

1. I. Variācijas

2. II. Galjarda

3. III. Intrada un kadence

4. IV. Saltarella

5. V. Menestrels

6. VI. Pavana

Carmina antica for mezzo-soprano and instrumental ensemble

7. I. Pāns ar flautu

8. II. Eoliešu kitāra

9. III. Traģiskā monodija no Mēdejas

Concerto No. 1 for organ and chamber orchestra Concerto innocente

10. I. Allegro gaio

11. II. Andante pensieroso

12. III. Allegro volando

Concerto No. 2 for organ and chamber orchestra Concerto triptichon

13. I. Ciborium

14. II. Mensa

15. III. Predella

Four Japanese Miniatures, Kristaps Pētersons, instr.

16. I. Ļoti viegli, vienādi, nesteidzoties

17. II. Adagio

18. III. Andante

19. IV. Allegro vivo