Cultural heritage of Estonian minority in Ludza explored on CD by Ilža

It may be surprising to some that the town of Ludza, in the Latgale region in eastern Latvia, had, for many centuries, a small but active Estonian minority. Though relatively distant from Estonia itself, these Estonians, or Lutsi, have a rich cultural heritage and their own southern Estonian dialect.

Not far from Ludza is the Cibla parish, home of the traditional folklore group Ilža. Founded in 1990, the group has, throughout their decades of activity, performed songs from the Latgale region and released many CDs. Their latest CD – released in 2019 – called Lutsi Rahvalaulud – Ludzas igauņu dziesmas (or Songs of the Ludza Estonians) explores the songs of the Lutsi. Combining both historical recordings and new performances, the album reveals the deep roots and cultural legacy of the Lutsi.

Ilža worked on this CD for many years, as much research was needed to study the songs. Composer Emīls Melngailis had collected Lutsi songs in the first half of the 20th century, and his work was the foundation for Ilža’s further study, which included listening to audio materials located at the University of Tartu in Estonia.

The CD also includes historical recordings, such as performances by folk singer Anna Germova, originally recorded in the early 1970s, which are then followed by Ilža’s new interpretation. These include ‘Lätş jezänd sanna’, a humorous song about farmer John who has an unfortunate fall into a clay pit and is laughed at by both birds and the old lady he was going to visit. Another song learned from Germova is the joyous ‘Karga mulle kassikyne’, a song about a little bird’s wedding.

Group member Vita Ruduša, vocalist and kokle performer, provides a tender arrangement of ‘Ōdaks ma ta’ süögi tūjat’ in both an instrumental version, as well as a version with vocals. The song, about a ploughman waiting for his lunch, is given a dreamy atmosphere by the sounds of the kokle. Using the sounds of the stabule (or recorder), Ilža provide an almost Renaissance sound to their performance of ‘Kos sa oļļi’ kitsekyne’, about a man asking his billy goat where he has been (textually similar to the Latvian folk song ‘Kur tad tu nu biji, āzīti manu’, but melodically quite different). The kokles and stabules give an appropriately mystical sound to the lullaby ‘Maka kavva, kazu sūrist’.

The extensively detailed CD booklet is also an invaluable resource, as it contains a very detailed history of the Lutsi, as well as words and music for each song, including the lyrics in the Lutsi dialect, as well as Estonian and Latvian. Texts and song descriptions are also provided in English. The booklet also provides theories as to how these Estonians came to live in Latvia, one such theory is that they were fleeing forced conversion from Catholicism to Lutheranism.

Though the Lutsi culture and dialect may be silent today, the songs on Lutsi Rahvalaulud are still full of vitality and life. This small minority has left a legacy that Ilža have revealed in their recordings, and it is clear that the group has put in a significant amount of work to ensure the performances are authentic. The attention to detail comes through in the performances and provides for a fascinating and enjoyable listen to these rarely heard songs.

For further information, please visit the Ilža page on the Lauska website

Lutsi Rahvalaulud – Ludzas igauņu dziesmas

Ilža

Lauska CD087, 2019

Track listing:

  1. Oļļi nūr, oļļi sūr
  2. Lätş jezänd sanna – Anna Germova
  3. Lätş jezänd sanna
  4. Velikyne, armakyne
  5. Nyze hummugu
  6. – Anna Germova
  7. Karga mulle kassikyne
  8. Kits, kits habenilla
  9. Ōdaks ma ta’ süögi tūjat – Anna Germova
  10. Ōdaks ma ta’ süögi tūjat
  11. Ōdaks ma ta’ süögi tūjat (V.Ruduša, instrumental arrangement)
  12. Čīri vīri čirgukyne
  13. Kos sa oļļi’ kitsekyne – Anna Germova
  14. Kos sa oļļi’ kitsekyne
  15. Kiige maagõ – the men’s ensemble “Ütsiotsõ”
  16. Maka kavva, kazu sūrist
  17. Kūzekyne
  18. Ōdaks ma ta’ süögi tūjat (V.Ruduša, vocal instrumental arrangement)

Egils Kaljo is an American-born Latvian from the New York area . Kaljo began listening to Latvian music as soon as he was able to put a record on a record player, and still has old Bellacord 78 rpm records lying around somewhere.

Authentic recreation of bygone era on Rahu the Fool’s debut album

The early 20th century, particularly the 1920s and 30s, was a truly explosive time for music around the world – new styles and genres came to life, and many popular songs were written, songs that are still sung and beloved today. Latvia also experienced this phenomenon, and groups of that era like Brāļi Laivinieki, Alfrēds Vinters, Pauls Sakss, among many others that recorded for the pre-war record local label Bellacord Electro, are still fondly remembered.

Inspired by the music of that time, as well as other genres, the group Rahu the Fool released their debut album in 2019. Over the course of two CDs (one featuring songs in Latvian, the other with songs in English), Rahu the Fool displays a wide variety of influences. On their Facebook page, the group describes itself as “folk music, with sparkles of jazz, hip hop, avantgarde, bluegrass and world music.” The group is made up of Evita Bambāne on double bass, Lauma Bērza on violin and vocals, Benny Goldsmith (Zeltkalis) on saxophone and ukulele, Pēteris Narubins on vocals and guitars, and Jāzeps Podnieks on vocals, flute, washboard, and a number of other instruments. The name ‘Rahu’ is from Hindu mythology, but also means ‘peace’ in Estonian.

The group conjures up an authentic early 20th century atmosphere on songs like ‘Šņāci Minna’ (the Latvian version of the British novelty song ‘Wheezy Anna’), and ‘Bagāts un nabags’. Guest vocalist Marija Broča provides a soulful rendition of ‘Just a Little Bit of Rain’, as well as the spiritual ‘Trouble so Hard’.

There are elements from later decades as well, such as the group’s interpretations of two songs by composer Imants Kalniņš – ‘Četri Balti krekli’ and ‘Viena meita govi slauca’. Also, the group’s version of the blue standard ‘Make me a Pallet on Your Floor’, featuring guest vocalist Madars Apse, is perhaps meant to evoke the vocal stylings and harmonica of Bob Dylan. Even Latvian folk songs appear on the album, such as the almost manic performance of the song ‘Švilpastīte’.

The wide variety of styles and moods on the album can make for a slightly disorientating listen, as the mood can jump from humorous to serious, from rollicking to somber from one song to another. It also is not always clear if something is meant to be funny or not, which perhaps is part of the group’s charm – leave the listeners guessing. Some songs are even slightly disturbing, like ‘Seagull’s Meat’, about boiling and eating a seagull. The group provides an ode to cannabis, ‘Reefer Song’, meant to be playfully silly (much like someone under the influence) but winds up being just silly.

With 29 songs altogether, there are bound to be a few misfires, but these are far overshadowed by moments of true beauty, like the sentimental Estonian instrumental dance of ‘Sāremā’ or the wistful and heartbreaking sea shanty ‘Jūrnieku dziesma’, about a sailor swearing his love before going to sea. Also, worth noting is the clarity in production on the recordings, with all the various instruments clearly heard and well balanced in the mix – veteran producer Kaspars Bārbals oversaw the recordings.

The CD booklet has many classic and vintage photos, as well as modern photos in a vintage style (in an interview with the group, they revealed they had found a photographer – Andris Uškāns – who had an antique camera that still worked – and he took the new photographs of the band). There are also brief notes from the band, though, curiously, the authors of the songs or sources are not provided. It would have been interesting to read a bit more about the songs chosen for this collection, or to know if a song is a cover or an original.

Over the course of two CDs, Rahu the Fool take the listener on a journey through time, and a journey that makes stops both in Latvia and the United States. Throwing themselves fully into the role of a 1930s ensemble, even dressing the part, the group produced an authentic recreation of a bygone era, but still with a few modern touches and flourishes. Though there are certainly retro elements and nostalgia, the group’s performances are full of vitality and vigor, giving these songs – some a century or older – a new life with their enthusiastic performances.

For further information, please visit the Rahu the Fool Facebook page

Rahu the Fool

Lauska, 2019

Track listing:

CD Rahu

  1. Bagāts un nabags
  2. Koketka
  3. Šnāci Minna – video
  4. Sāremā
  5. Jūrnieku dziesma
  6. Mīļākā
  7. Švilpastīte
  8. Taiga
  9. Četri balti krekli
  10. Viena meita govi slauca – video
  11. Stepe
  12. Tumšā naktī
  13. Igauņu subata
  14. Saimniekdēli

CD The Fool

  1. Minglewood Brothers
  2. Move That Thing – video
  3. Make Me A Pallet on Your Floor
  4. I Don`t Want to Set The World On Fire
  5. Rag, Mama, Rag – video
  6. I Can`t Give You Anything but Love
  7. Haul On The Bowline
  8. Three Little Puns and Rood
  9. Reefer Song – video
  10. Just A Little Bit Of Rain
  11. Minnie The Moocher
  12. Seagull`s Meat
  13. Waiting for A Train
  14. Trouble So Hard
  15. Oh, Long River

Egils Kaljo is an American-born Latvian from the New York area . Kaljo began listening to Latvian music as soon as he was able to put a record on a record player, and still has old Bellacord 78 rpm records lying around somewhere.

Latvian Radio Choir creates engaging musical journey with works by Latvian composers

The Latvian Radio Choir, long known not just for their versatility, but also their enthusiasm for modern and challenging works, have, for decades now, brought the names and music of Latvian choir music composers to audiences over the world. Through the tireless efforts of conductors Sigvards Kļava and Kaspars Putniņš, names such as Maija Einfelde, Mārtiņš Viļums, Andrejs Selickis, among many others, have been heard by audiences that would likely not have heard them otherwise.

The choir also diligently release recordings of the works of Latvian composers, such as The Fruit of Silence, Mārtiņš Brauns’ Daugava, Daba un dvēsele, among many others. On their 2019 CD Evening Impression (or Vakara impresija), the choir presents more introspective, ethereal choir works by Latvian composers, all composed in the past decade.

Sacred elements imbue many of the works on this collection. Using text from the Gospel of John, composer Juris Karlsons’ gently flowing ‘Gaisma’ (or ‘Light’) creates a calm, reassuring atmosphere with its repeated phrase ‘Es esmu gaisma’ (I am the Light). Composer Andrejs Selickis finds inspiration in the 51st Psalm for his ‘Radi manī, ak Dievs’ (Create in Me), and intertwines Gregorian and Byzantine elements to create a deeply spiritual work. Ēriks Ešenvalds sets the writings of the Eastern Orthodox monk Silouan the Athonite to music in the contemplative ‘I Write’. The work, envisioned as an episode from the monk’s life, is a deeply reverent prayer, lifted to soaring heights by the voices of the choir.

Ešenvalds also provides the brief and almost fragile ‘He Wishes for the Cloths of Heaven’. Using text by Irish poet William Butler Yeats, the work, a confession of love, is vividly interpreted by Ešenvalds and his striking harmonies.

Pēteris Vasks interprets the poetry of Latvian poet Imants Ziedonis in ‘Mīlas dziesmas’ (Songs of Love), a cycle of five miniatures. From the gently undulating ‘Tāds gaišums’, to the very reserved and solemn ‘Un pēkšņi tāds klusums’ and the reflective, delicate ‘Ne lapa nekustas’, Vasks’ brings forth the spiritual and emotional in the poetry. The cycle was composed shortly after Ziedonis’ death in 2013, and the choir ensures that this is a highly personal, performance of this work.

Latvian poetry also provides inspiration for Maija Einfelde’s ‘Vakara impresija’, based on a poem by Rainis. Einfelde’s music often has harsh, even emotionally raw harmonies, and Rainis’ text about approaching dusk becomes unsettling, even ominous. Arturs Maskats’ lyrical, expressive ‘Liepziedā’, based on poetry by Ojārs Vācietis, gives the choir many opportunities to display their skill in this nuanced, colorful composition.

Jēkabs Nīmanis has composed much for theater, and this is evident in his ‘Krēslas stundas’, a kind of ghost story set to music based on a text by Jānis Vainovskis. Partially spoken, the choir acts as a kind of narrator for the otherworldly text about an unexpected encounter with a female spirit.

Slightly out of place on this particular collection is Mārtiņš Viļums’ ‘Bij’ man viena balta pupa’, if only because the work, based on a Latvian folksong, is sung in a Latvian folk style (that is, occasionally loudly and shrilly). Still, the work, with its extensive mythological elements (according to the liner notes, “The bean is an ancient Indo-European mythological symbol – the path to heaven”) and mystical atmosphere, results in a dramatic and engrossing performance.

Calm and meditative, the Latvian Radio Choir and conductors Sigvards Kļava and Kaspars Putniņš create an engaging and ruminative musical journey. Combining sacred and secular elements, as well as both melodic and discordant sounds, Evening Impression further displays the many facets of the sound of the choir, and reaffirms their position as the leading interpreters of modern Latvian choir music.

For further information, please visit the Latvian Radio Choir website.

Evening Impression

Latvian Radio Choir

LMIC/SKANI 075, 2019

Track listing:

1. Juris Karlsons – Gaisma

Pēteris Vasks – Mīlas dziesmas

2. Tāds gaišums

3. Un pēkšņi tāds klusums

4. Kur biju?

5. Tad apstājas laiks

6. Ne lapa nekustas

7. Jēkabs Nīmanis – Krēslas stundas

8. Ēriks Ešenvalds – He Wishes for the Cloths of Heaven

9. Ēriks Ešenvalds – I Write

10. Mārtiņš Viļums – Bij’ man viena balta pupa

11. Maija Einfelde – Vakara impresija

12. Andrejs Selickis – Radi manī, ak Dievs

13. Arturs Maskats – Liepziedā

Egils Kaljo is an American-born Latvian from the New York area . Kaljo began listening to Latvian music as soon as he was able to put a record on a record player, and still has old Bellacord 78 rpm records lying around somewhere.