In March 2012 a delightful compact disc was launched in Wollongong, Australia, titled Celebrate the Seasons. It is the product of young Latvian/Australian musicians and educators with songs and dances from many lands for early childhood and primary school.

Included are two Latvian pieces “Gailītis” and “Plaukstiņpolka”, as well as the flavours of Australia, Torres Strait, Denmark, Poland, Japan, Spain, Holland and original songs by Kaija Upenieks. In this way it is very representative of the many cultures that co-exist in Australia and gives an insight into how the children of Latvian parents in the diaspora connect the two worlds.

There are 23 songs and dances altogether with vocals, accordion, violin, cello, double bass, ukulele, banjo, percussion and recorders selectively used on different tracks, adding to the specific ambience and diversity in style of the piece being represented, either as an instrumental or a song.

Kaija Upenieks began her early childhood program Sing a Song Dance Along in 2005 as an extension of a music program Music Time at Thirroul, established in 1984 by Kaija’s mother, Maija. Of the three now-adult daughters in the Upenieks family, Nara is the eldest, then comes Kaija, then Vēsma. As Kaija says, “Mum instilled in all of us the importance of connecting individuals and families through joyful musical experiences.” As children, the three girls participated in Latvian cultural events in Sydney, and both mother and father would drive one hour each way to attend these events in Sydney, and drive the girls to Latvian School on Saturdays. Sometimes this would happen as often as twice or three times a week.

As a result all three girls have a thorough musical background and perform on the CD, as do two of Nara’s young daughters. All three have qualifications in early childhood education, so Celebrate the Seasons takes into account the development of vital learning areas through interactive music and movement experiences in a playful way.

Latvian family friend Viktorija Mačēns (accordion and voice) joins in performances at various folk festivals with their world music group “Somesing Laik Zat”.  Other performers on the CD are members of different groups Kaija has been involved with. The musical arrangements set this CD apart, as it is music that pleases the discriminating ear.

The underlying philosophy of this musical family has been connecting through music and this has led to performing and giving workshops at festivals, primary schools and other events.

Celebrate the Seasons is a great tool for both parents and educators. For more information and distribution: www.liferhythmsmusic.com

The kokle, a Latvian stringed instrument somewhat similar to the zither, has long been part of Latvian folk culture. The instrument has fitted into the stereotypical image of the Latvian folk maiden – in her folk costume, playing the kokle at the Song Festival (when she’s not milking the cows, of course).

Though it is an ancient instrument, and many might consider it a quaint bit of Latvian folklore, the kokle is very much a part of modern Latvian music. For example, there is Māris Muktupāvels of the post-folk group Iļģi, whose kokle playing is an integral part of the ensemble’s sound. Māris’ brother, ethnomusicologist Valdis, is also a renowned kokle performer, and has even written a book about the instrument. Biruta Ozoliņa performs the kokle in her ethno-jazz ensemble Patina. And that’s just to name a few.

Among those that are bringing this ancient instrument into the 21st century is the young musician Laima Jansone. Jansone has already performed with the Latvian Radio Choir – playing the kokle on a number of the songs on the Choir’s album Skaisti dziedi, released in 2008. Jansone has also performed with the vocal ensemble Latvian Voices, as well as Skyforger and Auļi. In 2011, Jansone released her first solo album – Sidrabs, a collection of solo kokle improvisations.

The improvisations are generally on a winter theme. Though they are improvisations, inspiration is drawn from Latvian folk songs and folklore – for example, the song “Sidrabs” quotes from the Latvian folk song “Sidrabiņa lietiņš lija”.
Judging from the song titles, the concepts presented are fairly simple – the works have titles like “Iela” (Street), “Upe” (River) and “Zāle” (Grass), but these are purely the sources of inspiration for the works – the actual performances are quite engrossing and compelling.

“Upe” features Jansone using the kokle as a percussion instrument, striking both the strings and the instrument itself, and then launching into a bravura performance that reminds the listener of a fast flowing river. “Piles”, as its corresponding video reinforces, gives the impression of a slowly melting icicle.

The album is also accompanied by a companion DVD, featuring the same tracks as the CD, each with an associated video, produced by Olafs Okonovs. The videos are, for the most part, fairly simple – for example, the video for “Iela” shows what seem to be headlights in the distance, the video for “Upe” has flowing water, etc. Interestingly, the video for “Atdzimšana” features a shadowy nude female form. Additionally, only Jansone’s fingers appear in the videos – this gives the viewer a better appreciation for how truly nimble and agile her playing is. The DVD is one that could be played in a spa or relaxation center. Otherwise the videos are a bit repetitive, and might not stand up to repeat viewing – except, of course, “Atdzimšana”.

Sidrabs is most certainly a worthy new entry in the Latvian kokle music genre – balancing both the ancient and the modern, the songs on the album provide a picturesque and beautiful winter landscape.  Laima Jansone’s performances are very melodic and almost entrancing at times. Though slightly on the shorter side (under 40 minutes), that brief period of time is riveting and engrossing, both for Jansone’s virtuoso playing as well as the dreamy winter moods it presents. Sidrabs is an exceptional achievement, and we can look forward to hearing the next chapter!

More on the Laima Jansone website.

Countryside living in Latvia is a bit romanticized. Clogged roads that are usually in pretty bad shape on the way there, feeding the mosquitos and ticks, the better than even chance you will have to deal with an outhouse, and the inevitable traffic jam on the way back to Rīga.

Still, one of the highlights of any countryside excursion is the chance to use the Latvian pirts (sauna). Simple in concept – water dropped on heated rocks makes for a steamy and sweaty experience. Though, granted, being in a small shed with the temperature at 50 degrees Celsius (or more), often times with people you might not know too well, and dressed only in a towel (or less) and periodically smacking each other with birch branches might not be everyone’s cup of tea.

The pirts has for centuries been an integral part of country life, and now, renowned Latvian post-folk ensemble Iļģi has provided a soundtrack for this ritual. Tur saulīte pērties gāja is meant to be a collection of songs to listen to whilst enjoying the full pirts experience – from the preparation of the pirts to the cooling off period afterwards.

Iļģi, made up of Ilga Reizniece (vocals, violin, kokles), Māris Muktupāvels (kokles), Gatis Gaujenieks (trough fiddle, bass guitar, as well as pirts sound effects), Egons Kronbergs (guitars), and Mārtiņš Linde (drums), have now released many albums with a particular theme – but this is perhaps one of their most unique and unexpected themes. Previous albums have focused on weddings, dances, and the Jāņi midsummer celebration, but who would have thought one could put together an album of songs about the pirts? Though, granted, some of the songs have but tenuous connections to the process.

Iļģi has long been known for songs about Latvian traditions and spirituality, and the pirts ritual remains an essential part of countryside life – it is a cleansing of the body and the soul, and is meant to give participants a fresh start, free of impurities. Perhaps it is logical that Iļģi dedicate an album to this ritual.

The first thing to know about Tur saulīte pērties gāja is that it is VERY mellow. It actually reminds me slightly of their album Totāri, which also featured quieter songs focused around the winter solstice. Though sometimes the pēršana process (the smacking of each other with birch branches) can get slightly violent, otherwise it is usually a very relaxing process. Being in a pirts is, in a way, almost like meditation, so it should follow that the music for such a process should also be meditative and calming. Listeners should certainly not expect the uptempo and raucous songs that have appeared on previous Iļģi releases.

That being said, the album, in its calm way, is quite enjoyable. It even features pirts sound effects provided by Gatis Gaujenieks, making listening to this album a more authentic experience. The songs are also notably longer on this release – many songs last more than six minutes. Also, some of the songs might even be considered in a minimalist style – for example, the instrumental “Ceļš”, which provides variations on one theme for six minutes.

As always, the texts of Iļģi songs come from ancient Latvian folk songs. The ritualistic aspect of the pirts process becomes clear with the first song, “Pirts kurināšana”, with the almost chanting nature of Reizniece’s vocals, enhanced by Gaujenieks’ sound effects, which give the song a mystical, perhaps even spiritual atmosphere.

Guest vocalist Irīna Mihailovska performs a duet with Reizniece in the song “Ceļojums”, one of the most enjoyable songs on the record. Mihailovska, who also appeared with Iļģi at their 30th anniversary concert in 2011, performing the part of Lelde from the Iļģi interpretation of Spēlēju, dancoju, is a welcome addition to the group, providing an enjoyable counterpoint to the vocals of Reizniece.

The closing song, “Paldies”, can easily become a favorite. The concept is simple – over the course of the song, everyone involved in the pirts process is thanked, even those who built the physical building and chopped the wood to be burned.

The sound effects and the mellow melodies give Tur saulīte pērties gāja an almost ‘new age’ feel, something to play in the background during yoga class. Though certainly relaxing and enjoyable, the uptempo Iļgi of Sēju vēju and Kaza kāpa debesīs wil not be found here, so listeners – don’t expect the shouts and fast tempos of other Iļģi songs. However, Iļģi have never shied away from experimenting and performing non-traditional music, and Tur saulīte pērties gāja is yet another example of the group’s eclectic style. In their long career spanning 30 years, Iļģi have always made interesting and unique music, and these songs will most certainly make the pirts experience more enjoyable!
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For more on this album to to the Iļģi homepage or follow Iļģi on Facebook.