Odradek Records, a classical and jazz musical label founded in 2012, considers itself a “democratic, non-profit, artist controlled cooperative label” that determines what to release based on the process of “democratically evaluating anonymously submitted demos”. As a result, the selections released by the label are an eclectic group, and the label has also turned its attention to Latvian artists and compositions.

The first such release focusing on Latvian artists is 2015’s Kurland Sounds, collecting symphonic works by three Latvian composers who originally hailed from the Kurzeme area of Latvia – Vilnis Šmīdbergs, Ēriks Ešenvalds, and Pēteris Vasks. All the works are, appropriately, performed by an orchestra from the Kurzeme region – the Liepāja Symphony Orchestra, conducted by Atvars Lakstīgala. The city has nearly a century and a half of history with symphonic music — the first Baltic symphony orchestra was founded in 1881 in Liepāja.

The first work presented on the CD is composer Vilnis Šmīdbergs’ “Merry-Go-Round” for symphony orchestra. Šmīdbergs, originally from Ventspils, though musical for his entire life, only became a full-fledged composer later in life, though he did dabble in art rock in the 1960s with the group Katedrāle and initial forays into composition with smaller scale chamber and symphonic works in the 1970s/1980s. Now, in the 21st century, Šmīdbergs is an active composer, and his music is described as “harsh and sometimes stinging” but “refreshing”. “Merry-Go-Round” is such a work – presenting the titular carnival ride as a wheel of life, reflecting many different emotions, but with the tragic undertone that we only go in circles – humanity still continues to repeat the same mistakes in terms of war and destruction. In fact, though the merry-go-round is a children’s ride, it can turn into something quite frightful – the work may remind listeners of the out-of-control carousel in the climax of Alfred Hitchcock’s film “Strangers on a Train”. Šmīdbergs presents a vision that is at once humorous and terrifying.

Ēriks Ešenvalds, originally from Priekule, though perhaps best known for his choir works, is also an adept composer of symphonic music. His contribution to this collection is the 4th Liepāja concerto “Visions of Arctic: Night”. Many of Ešenvalds’ works have been inspired by the Northern Lights, and, as per the composer himself, this work includes both elements from Kurzeme and from the Arctic. The clarinet is performed by renowned Latvian clarinetist (and former Latvian Minister of Culture) Ints Dālderis. The windy city of Liepāja and the remote yet beautiful area above the Arctic Circle are presented in dreamy, thoughtful musical language – the first movement concludes with a quiet and light wind symbolizing the city. The second movement presents a picture of the Arctic, though cold and desolate, a place of great wonder and beauty. The third and final movement, a dramatic and stormy journey, brings this journey to a close, with Dalderis bringing the right amount of mystery and wonderment to this expansive landscape. The work is labeled as the “4^th Liepāja concerto” as there is an ongoing effort to compose and record twelve concertos by different composers on the theme of the city of Liepāja (and Odradek Records has committed to release all of them when ready).

The album concludes with Pēteris Vasks’ (originally from Aizpute) monumental Symphony No. 2. From its dramatic opening, the work also displays themes of Latvian nature and imagery. Much of Vasks’ music is full of foreboding, about the fragility of life and Latvian flora and fauna, but still some glimmers and rays of hope that it is not too late to preserve all that has been created. The middle section of the symphony, which seems to present a musical view of dawn in the forest, with birds chirping and streams flowing, is a particularly engrossing performance, which then rapidly increases in dramatic tension as the landscape comes under threat. The Liepāja Symphony Orchestra proves to be an exceptional interpreter of this large-scale work, being at once dramatic and reserved, and presents a compelling performance of Vasks’ vivid vision.

The CD booklet has extensive notes on the composers, the works, and the performers in English, German and Latvian, as well as pictures of all of the orchestra members.

Kurland Sounds is a remarkable achievement by the Liepāja Symphony Orchestra and conductor Atvars Lakstīgala. Providing memorable performances of these disparate works, the Orchestra shows its versatility and flexibility. Odradek Records is to be thanked and praised for ensuring that these performances are available for a larger audience, as these composers from Kurzeme confirm that the music of Latvian composers, in the hands of such talented musicians as the Liepāja Symphony Orchestra and Atvars Lakstīgala, is unparalleled in its beauty and creativity.

For further information, please visit the Odradek Records website at  and the Liepāja Symphony Orchestra website.

Kurland Sounds

Liepāja Symphony Orchestra
Odradek, ODRCD319, 2015

 

 

 

 

 

The men’s vocal group Vilki have long been known not just for their vocal talent, but also for their repertoire, which mainly consists of songs with themes of war and battle. Throughout their long history (the origins of the group can be traced to 1980), the group are not content to simply perform the songs, but also study and research traditions with the goal of presenting the material in the most authentic way possible.

Though most of all of their recordings up until now have presented songs in a traditional manner, for their most recent album – 2015’s Cīņai sveiks! – the group took a different approach – this time the songs are performed with modern arrangements with the purpose of presenting an album of songs about war in a contemporary manner. Vilki, made up of members Edgars Lipors, Andris Balcers, Gundars Kalniņš, Jānis-Atis Krūmiņš, Raimonds Kundziņš, Ēriks Ēriksons, and Uģis Treide, are joined by varied Latvian musicians and performers.

Cīņai sveiks! (partially funded by crowdfunded means) presents both Latvian folk songs as well as newly written songs in varied styles and with diverse elements – the subtitle of the album is “Latviešu karavīru dziesmas jaunās skaņās” (Latvian soldiers’ songs in new sounds). Vilki perform vocals on all of the songs, but even though they are often in the role of backing vocalists, their presence and spirit are felt in all the performances.

The military elements in the music become clear with the first notes of the first song “Ko domāji tu, kundziņi” (arranged by Aigars Grāvers, of veteran Latvian synthpop group Jumprava, and performed by Vilki and Jānis Kušķis). Grāvers’ version of this Latvian folk song, full of bravado and boasting, retains the spirit of the ancient words and melodies, but balances it with modern instruments and sounds in this thunderous performance.

Artūrs Uškāns, leader of the folk ensemble Laimas muzykanti, provides one of the modern songs on the album – “Hammers” – dedicated to the Hummer military vehicle. The song, one of the many heavier entries on the album, is dedicated to the heroics of Latvian military personnel who drive their Hummers through dangerous minefields. The song also features the Jāzeps Mediņš’ music school boys’ choir, conducted by Romāns Vanags.

Songs of war, often with violent and aggressive imagery, would seem to naturally lend themselves to the heavy metal musical style – and to prove this point conclusively, one of the guests on the album is Skyforger, perhaps Latvia’s best known heavy metal export. Skyforger, who also are deeply influenced by Latvian history and legends, perform the song “Ar nāvi esam uz tu” (We are familiar with death), a thunderous ode about laughing in the face of death. The album’s liner notes even includes a story about a Latvian brigade that showed great such bravery and courage in battle in Afghanistan, so much so that their American counterparts dubbed them “Heavy metal”.

Post-folk group Iļģi are featured on the track “Brīvības kareivji” (a song with lyrics by Kārlis Rusovs, a Latvian national partisan, written in 1947). The tragic song, with themes about the fight being almost lost – “Gan retas mums kļuvušas rindas, un cerību spožums jau dziest” (our lines become thinner, and the brightness of hope is fading), remains defiant until the end – “Tak nenorims ieroču šķindas, vienalga, vai mirt būs, vai ciest” (still, our weapons will resound, it doesn’t matter if we die or suffer). The song closes with a sorrowful bagpipe lamenting the fallen heroes.

The album notes include many biographical notes (only in Latvian) on notable soldiers throughout Latvian history – starting with King Namejs’ battles with crusaders and the Livonian wars centuries ago up until modern times.

Cīņai sveiks! with its mix of Latvian folk songs and new songs, spearheaded by Vilki and all presented with topical arrangements, is a potent collection of battle songs. Joined by a variety of Latvian artists, both traditional and modern, Vilki present a fresh and lively portrait of Latvian soldiers and the bravery displayed by them throughout the centuries, always against larger and more powerful foes. Considering Latvia’s location in the world, and comparatively small stature (when compared with larger and more populous nations nearby), it is no surprise that themes of fighting and war often appear in Latvian songs. Cīņai sveiks! provides an exceptional collection of songs in a 21st century interpretation.

For further information, please visit the Vilki website.

Cīņai sveiks!

Vilki
Lauska, 2015

 

Perhaps no other Latvian composer is as unconditionally beloved as the late National-Romantic Emīls Dārziņš. In his brief life, cut short at the age of 35, Dārziņš composed music that would resonate with every successive generation for more than a century – his music remains as vital today as it has ever been. His most famous composition – the singular symphonic work ‘Melanholiskais valsis’ (Melancholy Waltz) remains not only popular, but the defining work of Latvian symphonic music. His works for solo voice, such as ‘Teici to stundu, to brīdi’ and ‘Vēl tu rozes plūc’, remain recognizable and revered.

However, it is Dārziņš’ choir music that has become an immutable and irrefutable part of the Latvian cultural psyche. Tallying at a mere seventeen works (for mixed, men’s and women’s choir), each one is a treasure, and continue to inspire and leave a deep emotional impact.

2015 is the 140th anniversary of Dārziņš’ birth (and, sadly, the 105th anniversary of his death), and, in celebration of Dārziņš’ life and work, the State Choir Latvija, conducted by Māris Sirmais, undertook the daunting task of recording all 17 choir songs and has released them in the collection entitled simply Emīls Dārziņš, which is the first time all 17 have been collected on one album. As these songs are so very beloved and ingrained in Latvian music, expectations can be not only high, but perhaps even unrealistic that one choir can do all these songs justice. Fortunately, Latvija and Sirmais are more than up to the challenge, and succeed beyond all expectations.

Dārziņš was a fragile soul, and this fragility is woven through almost all of his songs, perhaps most notably in the women’s choir song “Nāru dziesma”, with lyrics by Jānis Jaunsudrabiņš. The performance, tenderly and delicately presented by the women of the choir, captures the essence of Dārziņš’ spirit – with just a few words and brief, quiet music which barely rises above a piano, it entrances the listener with its siren song of “Nāc, ak, nāc” (Come, oh come).

Perhaps the most tragic of Dārziņš’ works is the men’s choir song “Mūžam zili”, a Kārlis Skalbe poem set to music. The somber, subdued opening, with its lament of “Mūžam nav miera zem Latvijas bērziem, Mūžam raud kokle pār Latvijas kalniem” (There is never peace beneath Latvia’s birches, The kokle always cries over Latvia’s hills), displays the uncertainty of the Latvian nation, long suffering under centuries of foreign rule. As the song builds to its crescendo with the cry “Mūžam nerimst varoņu gars” (The spirit of the heroes never dies), it concludes with the near hopeless despair of the introduction – a moving and memorable performance by the men of the choir.

Dārziņš was innately able to capture in music the spirit of the words of his contemporary poets. For example, Aspazija’s poem “Mēness starus stīgo”, with its fantastic and vivid imagery, complemented with Dārziņš’ lyrical and delicate music, results in one of the richest choir music works in the Latvian repertoire. Beginning with its immediately recognizable male choir introduction, quietly sublime, the music, with Aspazija’s words, paints a resplendent picture, filled with the subtle nuances and grace of the choir.

The collection concludes with Dārziņš’ defiantly triumphant “Lauztās priedes” with lyrics by poet Rainis. The metaphorical broken pines, which, though broken, do not concede defeat – Rainis’ fiery conclusion – “Tu vari mūs šķelt, tu vari mūs lauzt, Mēs tāles sniegsim, kur saule aust!” (You can splinter us, you can break us, We will reach the heights where the sun dawns!) reflects not only the dawning of the Latvian nation at the beginning of the 20^th century, but also the indomitable spirit of the Latvian people throughout the centuries. Dārziņš captures this spirit like no other in this work, one of the pillars of Latvian choir music. The State Choir Latvija brings forth the raw power and strength of this song, resulting in a truly soul-stirring rendition of this timeless classic.

The collection itself is presented in a beautiful hard-backed book, with extensive notes in Latvian on Dārziņš and his choir works by musicologist Arnolds Klotiņš, as well as detailed biographies of the choir and conductor Sirmais, and full texts for each work. In a charming touch, each book has a drawing of a pine tree that was glued in by hand.

These 17 pearls, though amounting to barely more than 40 minutes of music, continue to reverberate in the Latvian consciousness more than one hundred years later. Emīls Dārziņš is not just historically significant and precious, but also a stunning achievement by the State Choir Latvija and their mercurial conductor Māris Sirmais. After listening to this CD, the tragedy of Dārziņš’ brief time on this planet becomes even more pronounced and heartbreaking – if, during 35 years, the composer could compose such treasures, imagine what he could have done with another 35 years? We are blessed with these few works the composer was able to share with us, and blessed further that we have such a world class choir to present them to us in such an affecting and emotionally striking performance. Emīls Dārziņš is truly a testament not only to the composer’s genius, but also the unparalleled abilities of the choir Latvija and conductor Māris Sirmais.

For further information, please visit the State Choir Latvija website.

 

Emīls Dārziņš

State Choir Latvija
VAKL, 2015