With his keen sense of melody and harmony, as well as the ability to create captivating and absorbing choir works, it is no surprise that Latvian composer Ēriks Ešenvalds’ compositions have delighted and enchanted both listeners and performers worldwide.

Beyond simply including his works in their repertoires, many choirs also have begun recording his works. One such example is the Portland State Chamber Choir, conducted by Ethan Sperry, who recorded an album of Ešenvalds’ compositions entitled The Doors of Heaven. Released in 2017 on the Naxos label, the CD contains four Ešenvalds choir compositions, including the larger opus ‘Passion and Resurrection’.

Ešenvalds has often been inspired by the legends of various cultures, and, on a journey to Greenland, he learned of the Inuit legend of Raven, a being who created the world, but also brought destruction to it. The work is less a song but more a story in musical form, as it retells the legend through the voices and singing of the choir. Aided by traditional instruments and singing, the choir weaves a vivid and evocative retelling of the story, particularly the thunderous and tragic ending.

Many of Ešenvalds’ journeys were specifically associated with researching the Northern Lights phenomenon, and this has been another major source of inspiration for the composer. One such work is ‘Rivers of Light’, a composition that combines Sami Scandinavian melodies with quotes from British explorers who were seeing the Northern Lights for the first time. Ešenvalds fuses these two visions into one cohesive, flowing whole, and the choir brings forth both aspects in the works, especially the wonder of the explorers.

One of Ešenvalds’ most popular and best known works, ‘A Drop in the Ocean’, has been performed and recorded by many choirs (such as the youth choir Kamēr…, as well as the Latvian Radio Choir, to name but a few). This work, based in part on writings by Mother Theresa, is a deeply spiritual composition, but also a work of great humility, as Theresa wrote that all her work was ‘nothing but a drop in the ocean’. Beginning with the Lord’s prayer, then continuing with one of St. Francis of Assisi’s prayers and sections of Psalm 55, and concluding with Mother Theresa’s writings, Ešenvalds creates a work that is at times full of peace, but also has moments of harshness, and the choir adroitly reveals all of these musical elements.

The CD concludes with the four part oratorio ‘Passion and Resurrection’, and the choir is joined by the Portland State University String Ensemble. Combining elements from a number of different sacred texts, Ešenvalds has created a unique interpretation of the story of Jesus’ crucifixion and resurrection. Soprano Hannah Consenz gives a memorable performance, including the expression of sins as taken from the Byzantine Liturgy, which is then balanced by the choir singing about forgiveness. Ešenvalds’ music for the actual crucifixion is harrowing and terrifying, as the intensity builds and climaxes with the choir repeatedly singing ‘crucify’ in harsh and almost violent tones as the string ensemble erupts in an explosion of sound. The work concludes on a meditative note, with the choir and soprano alternating ‘Mariam’ and ‘Rabboni’.

Ešenvalds fans would also be well advised to seek out the CD Wandering Heart (2016) recorded by the Choir Leoni (Eric Lichte, Artistic director), as that album also has some of Ešenvalds works for men’s chorus (including world premiere recordings of men’s choral arrangements of some of his best known works such as ‘Stars’ and ‘Long Road’, as well as the first recording of his cycle ‘Wandering Heart’ with lyrics by the late Canadian songwriter Leonard Cohen).

The Portland State Chamber Choir’s The Doors of Heaven is yet another testament of Ēriks Ešenvalds singular ability and talent to compose choir compositions that resonate with choirs and listeners all over the world. The CD will be of interest both to those well familiar with Ešenvalds’ works, as well as those discovering them for the first time. In the hands of conductor Ethan Sperry, these performances are given lives of their own, which is appropriate, considering that many of the works are retelling of stories and legends. The Doors of Heaven is both an excellent recording and a document of Ešenvalds’ compositional skills and abilities.

For further information, please visit Ēriks Ešenvalds’ website, and the Portland State Chamber Choir website.

Ēriks Ešenvalds – The Doors of Heaven

Portland State Chamber Choir
Naxos, 8.579008, 2017

Track listing:

• 1. The First Tears
• 2. Rivers of Light
• 3. A Drop in the Ocean
  Passion and Resurrection
• 4. Part I
• 5. Part II
• 6. Part III
• 7. Part IV

Rāva, a band from Rīga, Latvia that came together in 2014, describe their style as ‘dark, experimental folk’. Using extensive sound effects and synthesizers, as well as traditional instruments, their interpretations of Latvian folk songs tend towards the solemn and weighty, and their live performances are also enhanced by performance art elements.

This approach to Latvian folk music, while unique, is perhaps not at all surprising, considering the nature of many Latvian folk songs. A significant number are sad, if not tragic, with their tales of death, war, orphans, as well as life’s difficulties.

The group released their self-titled debut album in 2018, and the songs are all almost entirely based on folk songs about war. The ensemble was founded by ethnomusicologist and vocalist Ilze Ceļmillere, and she is joined by guitarist and sound effects specialist Toms Ceļmillers, Emīls Zonne on vocals, mandolin and flute, as well as vocalist Eduards Plankājs and Viesturs Āboltiņš on vocals and bass. Initially, this collection of songs was gathered as Ceļmillere’s thesis work, and was presented as the performance art work ‘Vārna krāca ozolā’, and later the group recorded the songs to create this album.

The record begins with ‘Sniegi sniga’, a radically different interpretation of the folk song that inspired the popular song ‘Zibsnī zvaigznes aiz Daugavas’ (arranged by composer Jānis Lūsens and originally performed by singer Mirdza Zīvere in the mid-1980s). While Lūsēns’ version was a sweet and tender song, Rāva present it more as an ominous, fatalistic song about war approaching, with Ceļmillere intoning the words over sound effects and a slow bass line to enhance the feeling of dread.

As the songs on the album are about war, this may remind listeners of a similar album Dzelzīm dzimu by the ensemble Vilki, which also contained war songs. Both albums feature interpretations of the song ‘Vīri, vīri, nebūs labi’ (on the Rāva album it is called ‘Vārna krāca ozolā’). Rāva’s version of this song about preparing for war is melodic, with the band members providing harmonies over arpeggiated chords, with a bit of discordance at the end, provided by the flute and guitar.

The album moves more towards the area of sound and performance art with the track ‘In Memoriam’, which does not include any vocals, but is based around a recording of former Latvian Legion member Laimonis Ludzenieks (who passed away in 2017, and this song is dedicated to his memory). Against a backdrop of unsettling sound effects, Ludzenieks tells of his quite terrifying personal experiences in battle, as well as foreboding dreams and visions he had during the conflict, including one where his mother comes to him to warn him of the difficult day he will have.

Over a sparse accompaniment Rāva create a heartbreaking vision of the song ‘Uz kariņu’, a song that is also about departing for war, as the soldier turns around to see all his family members crying, and the finality and despondency of all those involved is expressed in Rāva’s performance.

On their debut album, Rāva, with their dark and experimental interpretations of Latvian folk songs about war, have woven together an engaging and thought provoking album. Using sounds effects and many dim and shadowy musical colors and textures, the group has created a record that, while truly dark and even bleak at times, is still quite affecting and moving. Of course, not everyone may enjoy this collection of songs due to their weighty nature and dark atmosphere. Many of the songs, with their slow, deliberate pace, may remind some of funeral dirges. Still, Rāva have indicated that this record concludes their exploration of war themes, and will explore other Latvian folk themes in the future. Rāva’s interpretations of folk songs about war will remind the listener of the tragic toll that war has taken on Latvia throughout the centuries, as well as the grim reality of conflict, and this is richly reflected in Rāva’s performances.

For further information, please visit the Rāva Facebook page.

Rāva

NABA Music / Melo Records, 2018

Track listing:

• Sniegi sniga
• Vārna krāca ozolā
• Bāliņš
• In Memoriam
• Uz kariņu
• Tiderā
• Projām jāiet
• Baltaitiņa
• Veratiesi vara vārti

The female vocal ensemble Latvian Voices have enjoyed much international success, achieving renown not just for their singing ability, but also for their varied, interesting repertoire and arrangements. Christmas music has also long been a part of their repertoire, but, up until recently, they usually performed outside of Latvia (mainly in Germany) in the Advent and Christmas seasons.

However, in 2016, the group performed its first Advent concerts in Latvia, and also recorded their performance in the Rīga Torņakalns Lutheran Church, and released a CD of this event, entitled Mazie, skumjie ziemas svētki at the end of 2017, a collection of Christmas and winter solstice songs, with both traditional songs and original compositions. This is actually their third album of Christmas music, the first being Seventh Heaven (2010), and the second was Zeit der Wunder, a collaboration with German vocal ensemble Viva Voce, which was released in 2014.

The members of the ensemble for this performance are group leader Laura Jēkabsone, as well as Zane Stafecka, Beāte Locika, Dita Belicka, Andra Zvejniece and Marta Lortkipanidze.

The group explains the meaning of the title of the album – Mazie, skumjie ziemas svētki (or – A Little Christmas Melancholia) – by saying ‘during the time before Christmas, many of us experience a kind of melancholia; we hear our inner voice a bit clearer and spend more time thinking about things that really and genuinely matter.’ That describes much of what is on the album – beautiful, deep, but with a touch of melancholy.

The atmosphere is set at the beginning with the concert, with a brief introduction that is a quiet, mystical interpretation of the Christmas song ‘Kas ir šis bērns’ (the Latvian version of ‘What Child is This?’, itself set to the famous English folk song melody of ‘Greensleeves’). This brief introduction then leads into the lively original work ‘Satikšanās’ by Jēkabsone.

Though there are certainly many elements of melancholy on the album, that is not to say there are no happier and more uplifting moments. For example, the joyous ‘Totari’, inspired by Latvian folklore, but with a new melody by Jēkabsone, is brought to vivid life by the soaring voices of the singers and percussion.

Alongside traditional Christmas songs like ‘O Come, O Come Emmanuel’ and ‘See, Amid the Winter’s Snow’ are also performances of Latvian folk songs with a winter solstice theme, such as ‘Sidrabiņa lietiņš lija’ and ‘Pūtiet guni’, as well as the Liv song ‘Zingi pringi’.

One of composer Raimonds Pauls’ most beloved melodies is his music for the song ‘Circenīša Ziemassvētki’, with lyrics by Aspazija. The song is about a poor mother and son who do not have enough money for bread, but she tells him a magical story of traveling to the moon and all the amazing things he will find there. Though a sad song, the mother’s tale provides for hope, and the singers present a truly tender and beautiful version of this song (arranged by Jēkabsone) as a fitting and memorable end to this slightly melancholic concert and season.

Often reserved and introspective, other times vivacious and rousing, Mazie, skumjie ziemas svētki is an ideal accompaniment for the Christmas and winter seasons. Combining interpretations of traditional Christmas songs, Latvian folk songs, as well as original works, Latvian Voices display again their many talents in singing and arranging. Tranquil and peaceful, Mazie skumjie ziemas svētki and the rich and sonorous voices of all the singers, with a small touch of melancholy, makes for wonderful listening for a calm Christmas evening.

For further information, please visit the Latvian voices website.

Mazie, skumjie ziemas svētki

Latvian Voices

2017

Track listing:

• Intro – Kas ir šis bērns?
• Satikšanās
• Coventry Carol
• O Come, O Come Emmanuel
• See, amid the Winter’s Snow
• Pūtiet guni
• Zingi pringi
• Sidrabiņa lietiņš lija
• Totari
• Ave Maris Stella / Zvaigzne spožākā
• Ziemas miers
• Ziemas stāsts
• Mazie, skumjie ziemas svētki
• Circenīša Ziemassvētki