Singer and songwriter Ainars Mielavs, through his work with the band Jauns mēness, as well as through his solo career, has become one of the most recognisable talents in Latvia. For more than 30 years now his songs have been an integral part of Latvian popular music.

With this kind of experience, Mielavs has a certain amount of artistic freedom to pursue and investigate different aspects and interpretations of his songs. One recent, perhaps unusual, choice that he has made is to create new musical arrangements of his songs – this time backed by a brass band. Appropriately entitled Mielavs un taurētāji (Mielavs and the hornblowers), a play on the name of Mielavs’ solo group ‘Mielavs un pārcēlāji’, the ensemble released an album of these new interpretations in 2017. All of the songs were arranged by long time Mielavs collaborator, guitarist Gints Sola.

Joining Mielavs (vocals, harmonica) on the album are Jānis Porietis (trumpet), Raivis Māgurs (tuba), Artūrs Šults (French horn), Kaspars Majors (trombone) and Edgars Bārzdiņš (trumpet), as well as Juris Kroičs on percussion. The group first began performing together in 2016, and their first concerts were at the K.K. fon Stricka Villa in Riga.

One might think that these performances might be stereotypical ‘oom-pah-pah’ Oktoberfest versions, but that is not at all the case – Sola’s arrangements are both tasteful and respectful, and present these well-known songs in a different light. According to Mielavs, his interest in brass instruments has been with him since he was five years old, which is when he discovered his grandfather’s trumpet.

The brass arrangements are often intimate and tender, like in this new interpretation of the song ‘Reizēm’, where the horns create a light and slightly sentimental atmosphere for the song, particularly the trumpet harmonies. There is a similar effect on this new interpretation of one of Jauns mēness’ best known songs – ‘Piekūns skrien debesīs’ – the original, with its kokle was a more mystical performance, while this new version is more direct and personal, without losing the calm intensity of the original.

New facets are revealed in Mielavs’ ballads as well, for example the new version of one of Mielavs’ most popular solo songs – ‘Tu saviļņoji mani’. The brass band offers a finely woven background for this interpretation, at the same time adding a playful element to the music. Though many of the songs are slower and somber, there are lively moments, such as in the bouncy ‘Zem varavīksnes tilta’, particularly the energetic tuba performance.

Mielavs also included a few songs by other artists as well, such as ‘Bože hraņi poļarņikov’ by Russian songwriter Boris Grebenshchikov, and the album concludes with a combination of the popular Latvian song ‘Es zinu visi mani nievā’ and ‘Slava Aleluja’ (the Latvian version of the US Civil War anthem ‘Battle Hymn of the Republic’).

The album is quieter than one might have expected, and, like much of Mielavs’ solo work, quite reserved. Brass instruments can of course be quite loud and powerful, and it would have been interesting to hear an arrangement of a more up-tempo song like ‘Kad mēness jūrā krīt’ or ‘Pārcēlājs’. And, at just slightly more than thirty minutes, the collection is briefer than one might have hoped – considering the many dozens of songs Mielavs has recorded, the listener is left wanting a bit more.

Mielavs un taurētāji is a quite pleasantly surprising collection – though many of the songs are quite well known, these are new and fresh interpretations of them. These performances reconfirm Mielavs’ strengths as a songwriter and singer – even with this non-traditional accompaniment, the songs remain vital and captivating.

For further information, please visit the Mielavs un Pārcēlāji website.

Mielavs un taurētāji

Upe, MP004, 2017

Track listing:

1. 1. Varbūt
   2. Piekūns skrien debesīs
   3. Paņem mani
   4. Atpogā manu kreklu
   5. Reizēm
   6. Tu saviļņoji mani
   7. Bože hraņi poļarņikov
   8. I Love You
   9. Zem varavīksnes tilta
   10. Es zinu visi mani nievā/ Slava Aleluja

Rikši, a post-folklore ensemble from the Latgale region of Latvia, have now been performing in their own inimitable, quirky style for more than five years. Humor is an essential aspect of their songs, along with creative and unusual approaches, and it has resulted in some of the most distinctive recordings in Latvian music. The group released their first album Pa pyrmam in 2014, and followed that up in 2016 with their second record, Sieju sovu.

Rikši, who are an offspring of the Rēzekne based folk group Vīteri (who are also known for their offbeat and humorous performances), counts five members, all of whom are vocalists. In addition to vocals, Ēriks Zeps provides accordion, Zane Dukaļska is on percussion, Madara Broliša plays the violin, Ivars Utāns performs the bass, and Mārcis Lipskis provides the guitar.

Though there are still many modern elements in their performances and arrangements, Rikši are still firmly based on traditional folk elements from Latgale, and almost all the songs on the record are in the Latgallian dialect. This is clear from the first song on the album, ‘Sieju rūtu, sieju mātru’, which features the women from the folklore group ‘Rūta’, based out of Rēzekne. In fact, the songs included on this album are all taken from Rūta’s repertoire.

As they have matured, Rikši’s arrangements have become more intricate and varied. The Roma influenced ‘As čyguona sīva beju’ has extensive a capella vocal harmonies in this vibrant rendition of the song of a gypsy’s wife. Additional harmonies, as well as interplay between the men’s and women’s voices can be found in ‘Oruojeņi, acātuoji’, a song about working in the fields.

Though many of their songs are lively and cheery, Sieju sovu does contain some slower, more serious numbers, such as the somber ‘Muote dieleņu auklieja’, with its limited, sparse arrangement, as well as the appropriately tender lullaby ‘Šyupļa dzīsme’, with its lilting mandolin and accordion accompaniment. The melancholy ‘Pa kam var pazeit’, about a boy going off to war, is tinged with sadness as the whole family prepares for the boy’s departure, and provides for a very moving performance.

A review of their Facebook page reveals the group’s versatility and activity – performances throughout Europe and in the United States, as well as many events and festivals within Latvia.

Rikši remain one of the most energetic and enthusiastic folk ensembles in Latvia today. With their creative and distinctive interpretations and arrangements, which they have continued and developed even further on Sieju sovu, the group has solidified their place in Latvian folk music. With both traditional and modern elements, as well as exuberant singing and playing, Rikši provide for both a lively and lighthearted listen.

For further information, please visit the Rikši Facebook page.

Sieju sovu

Rikši

Latgolys producentu grupa, 2016

Track listing:

1. 1. Sieju rūtu, sieju mātru
   2. As čyguona sīva beju
   3. Ai,ai, ai, tralalā
   4. Oruojeņi, acātuoji
   5. Pī kaimeņa
   6. Iesim, brāļi, mēs uz Rīgu
   7. Muote dieleņu auklieja
   8. Pa kam va pazeit
   9. Beja vīna buoba
   10. Šyupļa dzīsme

The youth choir Kamēr…, long renowned for its high artistic quality, has also recorded many groundbreaking and noteworthy CDs. Many new compositions have been written especially for them, and their recording output includes collections of such songs such as World Sun Songs (2008), Mēness dziesmas (2012), and Amber Songs (2014). On their latest CD, recorded under the watchful eye of artistic director Jānis Liepiņš and released in 2017, they have chosen to record works by two significant Latvian composers – Georgs Pelēcis and Pēteris Plakidis, on a collection simply entitled Pelēcis / Plakidis.

At first glance, it may seem like a curious choice to combine the two composers onto one album. The immediate connection is that both composers were born in 1947 and celebrated their 70^th birthdays in 2017. Pelēcis is known for his sacred works, often with Russian Orthodox themes, while the late Plakidis (who passed away in 2017) often composed more secular choir works based on poetry by Latvian authors. However, there is a clear spiritual and emotional element in the works of both composers, which provides for a musical link between the two.

The sacred nature of Pelēcis’ choral compositions is made clear from the Russian Orthodox inspired works on this collection, such as the vivacious ‘Hristos Voskrese’ and the more somber ‘Otche Nash’. Pelēcis is clearly at home in this genre, and his sacred works are at once deeply spiritual and personal, and have the necessary respectful and reverent interpretation by Kamēr…

One of Plakidis’ most powerful choir works is ‘Tavas saknes tavā zemē’, with poetry by Vizma Belševica. This song was included as part of the closing choral concert of the 2018 Song Festival, and was one of the most memorable and moving moments of the event. The song, with its quiet and slow introduction, which builds to a thunderous crescendo, is a richly emotional work, and, when performed by Kamēr…, this transcendent work receives an equally transcendent performance. Though composed during the Soviet occupation, this song, with its lyrics about taking root in the Latvian land still resonates with listeners today.

Though Pelēcis does focus more on Orthodox choral works, his creative output also includes arrangements of Latvian folksongs, but still with a spiritual interpretation, such as the arrangement of ‘Stāvēju, dziedāju’. Though seemingly just a song about singing on a hilltop, Pelēcis’ interpretation is almost hymn-like, like a song of praise for singing itself, giving this folk song a beautiful richness and depth.

With its repeated refrain of ‘Viss labais aiziet debesīs’ (All good things fly heavenwards), Plakidis’ ‘In Memoriam’ (lyrics by Latvian poet Broņislava Martuževa) is a weighty and meditative work, and, as its title would indicate, almost requiem-like. The sound of the choir, particularly the appropriately heavenly soprano parts, makes for a memorable rendition of this work.

The CD booklet includes brief biographies of the composers and the choir in Latvian and English, but one does wish they delved further into the song selection – why these particular songs were selected for this collection as well as their significance and meaning.

Combining the choral works of Georgs Pelēcis and Pēteris Plakidis on the collection Pelēcis / Plakidis, the youth choir Kamēr… again confirms not only their singing and artistic skill, but also their innate ability to interpret the works of Latvian composers, elevating them and revealing the many spiritual and romantic nuances within them. Still, though, considering the broad and varied oeuvre of both composers, one might have hoped that each had a CD entirely devoted to their works (particularly Plakidis, considering his recent passing and his significant choral music legacy). Conductor and artistic director Jānis Liepiņš (who, at the time of this writing, had recently departed Kamēr… and turned over direction of the choir to Aivis Greters) has overseen an excellent and richly nuanced recording, confirming the significant contributions of both these composers to Latvian choir music.

For further information, please visit the youth choir Kamēr… website.

Pelēcis/Plakidis

Youth Choir Kamēr…

Biedrība Kamēr mūzika, KCD014, 2017

Track listing:

1. Hristos voskrese – Georgs Pelēcis
2. Otche nash – Georgs Pelēcis
3. I See His Blood Upon the Rose – Georgs Pelēcis
4. Eksapostilārijs – Georgs Pelēcis
5. Credo – Georgs Pelēcis
6. In Memoriam – Pēteris Plakidis
7. Tavas saknes tavā zemē – Pēteris Plakidis
8. Vasaras vidus dziesmiņa – Pēteris Plakidis
9. Stāvēju, dziedāju – Georgs Pelēcis
10. Man dziesmiņu nepietrūka – Georgs Pelēcis
11. Izkal pakavu akmens zirgam – Pēteris Plakidis
12. Bumburjānis bumburēja – Pēteris Plakidis
13. Fatamorgana – Pēteris Plakidis
14. Aleluja – Georgs Pelēcis
15. Ausmas stundā – Pēteris Plakidis