St. Luke Passion: Sacred Works

Latvian Radio Choir

Ondine, ODE 1247-2, 2016

Latvian composer Ēriks Ešenvalds continues to be one of the premiere choir music composers working today. His works are performed by choirs and enjoyed by audiences worldwide. Though perhaps his best known work is his choir music, his symphonic and operatic works also have achieved success.

One of Ešenvalds’ more ambitious compositional endeavors in recent years was his choral work “St. Luke Passion” (composed in 2014), a symphonic choral work based on Biblical texts from the Gospel of Luke and other sources and almost entirely in English. The 8 part work is the centerpiece of the album St. Luke Passion recorded by the Latvian Radio Choir, Sinfonietta Rīga and conductor Sigvards Kļava, and released in 2016 by the Finnish record label Ondine and produced by the Latvian Concert Agency Latvijas koncerti.

This is not Ešenvalds’ first major work on this theme – he composed the work “Passion and Resurrection” in 2005 (a work performed and recorded by the Latvian State Choir Latvija), and there are a few thematic similarities. The text for “Passion and Resurrection” was not taken from one specific Gospel, while the “St. Luke Passion” is almost entirely from the Gospel of Luke, though it also includes other texts and prayers to embellish the work.

Ešenvalds’ St. Luke Passion opens dramatically with a repeated cry of “Crucify him!” from the choir, a thunderous beginning and portent of the terror to come. The work also includes solo sections, and this performance includes the powerful voice of tenor Jānis Kurševs, who is a kind of narrator, describing the actions of Pontius Pilate, and at the same time trying to be a voice of reason against the howling mob, imploring “Why? What evil hath he done?”

Mezzo-soprano Ieva Parša is the focus of the second movement of the work, which presents the parallels, if not tragic irony, of a carpenter’s son having to bear a cross of wood. Parša’s performance, at once stately and tender, makes for a somber interlude.

The rising tension of the third movement, where Kurševs and the choir alternate ominous warnings of “weep not for me, but weep for yourselves” is followed by the majestic fourth movement, which is based on the text of the Shema Yisrael prayer, and again displays the vocal talents of Parša.

Baritone Daumants Kalniņš, perhaps best known for his vocal jazz performances, plays the role of the Prodigal Son, which is an interesting textual choice to include in this Passion, as it is otherwise unrelated to the central story. Still, as a parable taken from the Gospel of Luke, it provides a rumination on family and filial responsibility. Kalniņš’ almost theatrical performance of the arrogant and wasteful son – mockingly singing “I’ll spend my days in the drinking dens, I’ll spend my nights in the gambling dens” as he defiantly goes on his way does make for a jarring counterpoint to the central theme of the work.

The closing eighth movement – “Does that lamp still burn in my Father’s house”, based on poetry by Christina Rossetti, brings the stormy work to an almost peaceful conclusion, with the voices of the choir providing an ethereal background to the duet between Kurševs and Kalniņš. It concludes with the dreamy lament sung by Parša, with its unanswered question of “Can you hear the One who is calling”, augmented by the serene meditative singing of the choir.

The album is supplemented by a few more of Ešenvalds’ choir works, including the solemn “A Drop in the Ocean” (based on texts by Mother Theresa), and “The First Tears”, which, though not truly a sacred work, is based on the Inuit creation fable of the Raven. This expansive and tragic work, where the Raven causes the death of a whale and the girl that is the whale’s spirit, recounts the first tears cried in the world as the Raven views the results of his negligence. Though a folk story, Ešenvalds’ music and the performance of the choir give the story a resplendent, memorable poignancy, particularly in the mystical recorder performance by soloist Aleksandrs Maijers.

The final work on the album “Litany of the Heavens” is in Latvian and is based on a poem by Fricis Bārda. The work begins with a haunting recording of a man singing a Catholic Kyrie eleison chant recorded in a small church in Skaistkalne, and this recording returns throughout the work, and is balanced with the sound of water-tuned glasses to, giving it a particularly mystical quality. The strings of Sinfonietta Rīga bring an added delicacy to this reflective and contemplative work. Bārda’s poetry, about reaching for a powerful, brilliant light, is brought vividly to life with the performance and the music.

St. Luke Passion, thanks to the music of Ēriks Ešenvalds and the performances of the Latvian Radio Choir and Sinfonietta Rīga conducted by Sigvards Kļava, as well as soloists Ieva Parša, Jānis Kurševs, and Daumants Kalniņš, is a truly remarkable achievement. These sacred and spiritual works become transcendent and captivating, a reaffirmation of the compositional mastery of Ešenvalds, particularly in the sacred choral genre.

 

Sen senie senči, an American Latvian heavy metal band, play music inspired by Latvian history and mythology (not unlike Latvian folk metal band Skyforger). Their debut album Tautas zobens was released in 2015, and, additionally, their song “Kurzemes cietoksnis” was featured on the Latvian heavy metal compilation Latvijas metals. The group returned in 2016 with their second album Trimda.

Band members include brothers Lars and Kārlis Alversons (as some may know, Lars is a long time member of American Latvian rock group Bob and the Latvians), with Lars providing vocals and bass guitar and Kārlis on vocals and guitar. The brothers are joined by Alvis Briģis (the album booklet and website is unclear as to what instrument Alvis plays).

Trimda, available as a digital download, is, as its title would indicate, an album inspired by the journey and plight of exiled Latvians. The album notes state that “these songs were written remembering how our grandparents and parents traveled across war torn Europe and the Atlantic Ocean to escape the horror of WW2”. As children of these exiles, the band members are in a unique position to present their stories, having learned about them from their families, as well as growing up in a time (late 1970s/early 1980s) when the Soviet Union was still dominating Eastern Europe (and elsewhere) and Latvian independence was remained an elusive, if not hopeless, dream.

Heavy metal is perhaps an appropriate style for telling these stories, as the aggressive guitars, fast tempos and growling vocals provide an aural picture of the terror of war and the resulting destruction and uncertain fate of refugees. For example, the song “Gājām”, begins with a mournful guitar and cello duet, signifying the difficult journey of refugees that had to abandon their homes. The song, in a style that reminds listeners of similar Latvian folk songs about the horrors of war, asks “Kur mēs bērni paliksim? Kur mēs šonakt gulēsim?” (What will happen to us children? Where will we sleep tonight?)

Besides the fear and terror of war, one emotion that is also stirred in times of war is anger, particularly at those who collaborate with the enemy, and this anger is displayed in the song “Nodevējs” (Traitor). Beginning with a thunderous drumbeat in the introduction, the song is relentless in its fury at those who betrayed their friends and country with lyrics like “Tevi uzpirka, valsti bojāja, tikai slinkoja, mantas kāroja” (You were bought, you ruined the nation, you were only lazy and greedy).

Not all the songs on the album are about war and exile – in fact, there is a song inspired by the achievements of Latvian folklore historian Krišjānis Barons (also known as the “father of the dainas”) simply entitled “Barons”. The song puts to music Barons’ heroic achievement of gathering together and publishing more than 200,000 Latvian folk songs (or “dainas”), thus preserving for all times these Latvian folk songs which were, at that time, in danger of being forgotten. The song celebrates his work – “mūsu latviešu dainas un dziesmas sirmais dievs” (the grey god of our Latvian folk songs). Also referenced in the song is 3233 – a minor planet discovered by Nikolai Stepanovich Chernykh and named KrišBarons, in honor of his achievements.

The album ends on a hopeful note with the song “Celies” (Rise), a song about how the war may be long over, but there are still many battles ahead – “Mums šodien lāpu nest, jo cīņa vēl nav galā” (We still need to carry the torch today, since the fight is not over yet). This call to action is a fitting close to the album, a reminder that the suffering of those during and immediately after the war should not be in vain.

The album booklet is meant to remind readers of an old family album, with grainy black and white pictures of the band members and others. Also, an added charming and authentic touch – the Latvian diacritic marks are made to appear like they were drawn in by hand (a memory of a time and place when one had to use a typewriter with no Latvian letters).

An engaging and riveting listen from beginning to end, Trimda is a dramatic and emotional achievement by Sen senie senči, capturing not just the intensity and ferocity of war, but also the hope and spirit of the exile community. The album, created by veteran Latvian American musicians, is a powerful poetic and musical statement, combining intense performances and vivid lyrical imagery, and is a fitting tribute to those that bore the burden of maintaining Latvian culture during those dark times.

For further information, please visit the Sen senie senči website.

Latvian composer Pēteris Vasks, who celebrated his 70^th birthday in 2016, has long been a significant voice in Latvian classical music, so much so that his music, be it choir songs, chamber music, or large scale orchestral works, resonates with listeners all over the world. From small miniatures to expansive symphonic tapestries, his music is imbued with emotions, at times a great sadness but also with hope.

In 2015, the German music label Wergo released a collection of Vasks’ symphonic works, including three of his most significant and notable pieces – Sala, Musica Appassionata and Credo, performed by the Liepāja Symphony Orchestra and conducted by Atvars Lakstīgala. These three works, in the hands of the musicians of Liepāja, make for a memorable journey in the musical journey through Vasks’ compositional world.

Vasks often has themes of nature and conservation in his works, and elements can be found in the work Sala (Island), a symphonic elegy for orchestra composed in 2006. The musical portrait of the island begins as a lonely journey, with calm, plaintive melodies expressed throughout various wind instruments, such as the English horn, then later taken over by flute and clarinet. The island itself is a place of calm reflection, but is also lonely and abandoned, and one gets the sense that the island is also a place of banishment. Vasks’ music, in the hands of the Liepāja Symphony Orchestra, paints a vivid and dynamic picture, transporting the listener to this imaginary place, full of beauty and solitude.

Musica appassionata per orchestra d’archi , composed in 2002, perhaps slightly unusually for Vasks, opens powerfully and dramatically, with a swell of strings. In many of Vasks’ compositions there often is a slow and gradual buildup of tension, and this work displays such an approach, a sense of growing unease as the melody begins its growing chromatic climb. The louder passages are balanced by quieter moments, but though the volume is lower the sense of anxiety remains palpable, particularly in the plucked strings. The orchestra maintains this dramatic intensity throughout the work, with the only real release at the very end, when a calmer melody prevails, and slowly fades out, punctuated by the rhythmic heartbeat of the double basses, giving the work a sense of mortality.

The spiritual and sacred are frequently the foundations of many of Vasks’ works, and this is particularly true in the final work on the album – Credo per orchestra, composed in 2009. Though instrumental, the work expresses a prayer-like affirmation of belief, particularly in the undulating strings throughout. Like many of Vasks’ works, it balances turbulence and harmony, and has a calm meditative nature. The entrance of the brass instruments gives the work a majestic flair, and then the work becomes meditative, with slow descending melodies in the wind instruments. As the orchestra fades out at the end, the sound of chimes brings the work to a peaceful and solemn conclusion.

According to the booklet notes (in both English and German), the multiple award winning Liepāja Symphony Orchestra is the oldest active orchestra in the Baltic States. The LSO often performs internationally, in many European countries as well as further afield in countries like Malaysia and India. Atvars Lakstīgala has been conductor since 2010, and has also conducted symphony orchestras, including the Lithuanian National Symphony Orchestra and the Rome Symphony Orchestra. The orchestra and conductor have also been actively recording, and have released many praised recordings, including Kurland Sounds (a collection of symphonic works by composers of the Kurzeme area) and Sound of Freedom (works by Imants Kalniņš).

The Wergo label also has a long history of working with Latvian musicians and presenting the best of Latvian compositions, particularly the music of Pēteris Vasks – including Viatore (symphonic works) and Gadalaiki (piano works performed by Vestards Šimkus). This CD is another memorable and significant entry in their catalogue.

Presenting three of Pēteris Vasks’ powerful symphonic works, this collection is a towering achievement, both by the composer and the Liepāja Symphony Orchestra and conductor Atvars Lakstīgala. It is a fitting tribute to the composer for his 70^th birthday.

For further information, please visit the Liepāja Symphony Orchestra website and the Wergo website.