Latvian folk and pop music.
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“Autobuss debesīs”
“Autobuss debesīs” (Bus in the Sky) formed in 1998. The band was founded by classmates Marts Kristiāns Kalniņš (vocals), Emīls Zilberts (drums), Ervings Znotiņš (keyboards) and Armands Treilihs (bass guitar). Kārlis Auzāns (guitar and cello) and Andris Dzenis (guitar) joined the group as well. Kalniņš is the son of famous Latvian composer Imants Kalniņš, who also composed all of the music on their earlier releases. Their first full length CD, “Logs puspavērts” (2001), was a smash hit in Latvia, selling over 16,000 copies and achieving platinum status. The band has released three full length CDs, of which “taureņiem, kaijām un spārēm" (For Butterflies, Sea Gulls, and Dragonflies) is their most recent. The album, containing the song “Div’ upītes” (Two Little Rivers), was released in February of 2004. On this CD, as opposed to all of their previous releases, the music was composed by Auzāns and Zilberts. Autobuss debesīs play a very melodic form of music, with very intricate musical passages and nuanced performances. “taureņiem, kaijām un spārēm" shows the group maturing, clearly showing their ability to compose and play skillful and thoughtful music.
The song “Div’ upītes” (Two Little Rivers):
“Div’ upītes”, music by Auzāns and Zilberts, lyrics by Zilberts, features the emotional cello work of Kārlis Auzāns. The lyrics are of sadness and longing, telling of two little rivers that flow away, and “ilgoto un meklēto, bet neatrasto” – that which is longed and searched for, but not found.
Folk group “Auri”
The group “Auri” was founded in 1991. “Auri” plays a wide array of traditional instruments. The songs date back hundreds of years and the group is increasingly renowned for creating on stage and on record a feeling of ancient authenticity, even while their arrangements take liberties in allowing room for creative interpretation.
The ethnic culture of Latvia is the combined heritage of tribal groups that lived in Latvian territory—the Balts, of which there were several (Couronians, Semigallians, Selonians, Letgallians) and the Finno-Ugric Livs. The independent historical development of these tribal groups was interrupted by the feudal aggression of the Teutonic Knight missionaries in the 12th century in the Baltic region, which subjugated the native inhabitants into long-term social injustice and catastrophically limited their educational opportunities. For this reason, folk music was for many centuries the only means of musical expression for native Latvians. The professional and semi-professional music that was heard at the courts and city salons was part of the ruling-class minority culture (mostly German), and the natives had little access to it. This long-term inaccessibility to professional music on the part of the Latvians turned out to be an indirect stimulus for the development of the expressive richness in their folk music genres, as well as an aid to the conservation of ancient elements in their folklore on the whole.
Archeological studies date the origins of Latvian musical instruments as Neolithic. Since ancient times, the specific folk string instrument is the kokle—a plucked zither related to the Finnish kantele. Among more than 30 idiophones, the most idiosyncratic is the trideksnis, a hand-held wooden rattle with suspended bronze plates. By the time of the invasion of the Teutonic Knights in the 13th century, stable folk music traditions had formed—recitative-like improvised archaic bourdons or solo songs, connected with family and seasonal (calendar) feasts or work processes and superstitions. These melodic structures rooted in primitive and Medieval scales and modes were ignored by the Latvian music professionals of the national Romantic era (similarly to analogous events pertaining to Hungarian peasant and professional music), and they were revived only in the 20th century among a few Latvian composers and especially in the so-called Folk Music Revival Movement. The relatively more recent folk songs which originated after the 15th century are not without influence from Western European professional music, and these songs have played a primary role in the Latvian national awakening’s musical spheres in the 19th century.
The song “Dzenat gani kur dzīdami” (Pasture, Shepherds, wherever you wish to)
This song was sung in early spring when the flock left the barns for pastures. As often happens in Latvian folk-songs, in this song, too,parallelism between the real life and that of the mythological deities is apparent – the shepherds are urged to pasture also in the gardens of Dievs (the God).
Chamber Choir “Ave Sol”
formed in 1969 with aims that were very significant for the Latvian choral scene: to encourage Latvian composers to write contemporary music and to extend the Latvian choral repertoire to encompass a variety of historical and national styles of music.For more than thirty years „Ave Sol” was directed by Imants Kokars, who conducts also Pēteris Plakidis’ song „Saulīt, mīļā māmulīt”.
The song “Saulīt, mīlā māmulīt” (Sun, Dear Mother).Music: Pēteris Plakidis, text: traditional
In the generation of composers that made its debut in the 1970’s, it seems that one of the most serious personalities is that of Pēteris Plakidis (b. 1947). A subtle professional in the role of chamber music composer and of pianist, as well as being the author of large symphonic scores, including concertos, Plakidis covers a wide stylistic range reaching from a basis in classicism to folkloristic diatonicism and controlled aleatory. He controls all of this with the strength of his professionalism and intellect, never allowing expression to dominate musical logic, thereby enabling the feeling of aesthetic balance, often neglected in contemporary music, to triumph. The song “Sun, Dear Mother” tells about the small shepherd, whose only joy during the very long working day is to see the Sun”.
“Cosmos”
“Cosmos” are the first Latvian a cappella group, performing Latvian popular songs in the a cappella style. All five singers began singing together in the renowned Rīga Cathedral Boys’ Choir. The singers cover the range of voices, from bass to soprano. Their debut album, featuring the Raimonds Pauls song “Sikspārņa Fledermauša šūpuldziesma” (Lullaby of Fledermaus the Bat) and the Imants Kalniņš song “Dūdieviņš” (Plover) was released in 2003, and has already achieved gold status in Latvia. Their interpretation of the song “Tu saviļņoji mani” (You Overwhelmed Me) by Latvian songwriter Ainars Mielavs, was also an enormous radio hit. Their first concert tour was a big success, with many sold out houses. The group performs a wide variety of musical styles including jazz, soul, and Renaissance and contemporary classical music. Their innovative and unique a cappella interpretations of Latvian popular songs have won them legions of fans and critical acclaim.
The song “Dūdieviņš” (Plover):
“Dūdieviņš” – music by Imants Kalniņš, words by Vizma Belševica – is a song about a plover, or a water dwelling bird. The bird is encouraged to “dūdo” – coo – and bring rain. Kalniņš is one of Latvia’s most beloved composers, composing not just popular music, but film music and symphonic music as well. Kalniņš has worked with many popular Latvian artists, and his music has been performed by such noteworthy groups as “Menuets”, “Turaidas roze”, and “Autobuss debesīs”.
The song “Sikspārņa Fledermauša šūpuldziesma” (Lullaby of Fledermaus the Bat):
“Sikspārņa Fledermauša šūpuldziesma” – music by Raimonds Pauls, lyrics by Dagnija Dreika – is a song about a bat named Fledermaus who sleeps “kājām gaisā” (feet in the air) and “saldā miegā” (in a sweet sleep) in a dark attic. Fledermaus sleeps soundly, even though it is light outside, the light does not reach him. The lyrics „Mums ir nakts, mēs neatļausim gaismai pie mums ienākt” (it is night for us, we will not allow the light to come in) can also be interpreted as a metaphor for a middlebrow way of life. The song was composed in the seventies. Raimonds Pauls, perhaps the most successful composer of popular music in Latvia’s history, composed the music for this song. His career has spanned five decades, dozens of albums, and he is still actively producing new music. He has worked with some of the brightest stars in Latvia throughout the years, and he has an enduring popularity unrivaled by any other Latvian popular music composer.
“Fomins and Kleins”
Fomins and Kleins play lyrical rock and roll. Ivo Fomins (vocals) and Tomass Kleins (guitar) began their work together at the end of 2002. Both musicians have a long history of being involved in Latvian rock music – Fomins was a member of the group “Liepājas brāļi” (Brothers of Liepāja) and is also a distinguished solo artist. Fomins has performed in many countries, including Russia, Poland, and at the “Big Apple” Music Festival in the United States. Kleins has played in the legendary Latvian rock group “Līvi” for many years. Both hail from the Latvian town of Liepāja, a town steeped in rock history, and a town from where many other famous Latvian musicians have come. Their first album, “Muzikants” (Musician) was released in 2003, and their second and most recent album “Dzimis Latvijā” (Born in Latvia) was released in early 2004. Their ensemble is rounded out by bass guitarist Egils Mežs, drummer Valērijs Iņutins and keyboardist Jānis Lūsēns, Jr.
The song “Dziesma par laimi” (Song of Happiness):
Latvia’s entry in Eurovision 2004 is the song “Dziesma par laimi”, from the group’s second album “Dzimis Latvijā” (Born in Latvia). This anthemic and hopeful song features the lyrics “Kad vairs nav nekā, es vēlos tev nodziedat dziesmu par laimi” (When nothing is left, I will still want to sing for you a song of happiness.) The group was the overwhelming favorite in the Latvian Eurovision voting, receiving more than 40,000 votes. This song is also notable since it was the only song in the Latvian finals that was actually sung in Latvian. Music is by Tomass Kleins, and lyrics are by Guntars Račs.
“Iļģi”
The group “Iļģi” was formed in 1981 by vocalist and violinist Ilga Reizniece. The band began as a traditional folklore ensemble, though in recent years their style can be considered more ‘post-folklore’ – it uses many Latvian folklore elements (folk verses and melodies, as well as traditional musical instruments such as the kokle), but also uses more ‘modern’ instruments that traditionally would not be considered folk instruments! Their music has found a large audience not only in Latvia, but internationally as well, shown by their two month tour of the United States in 2003. Iļģi were also an integral part of the Latvian reawakening period of the late 1980s, as their music and singing reminded listeners of the beauty of ancient Latvian songs. They have received many awards, including the Great Music Award for their album “Saules meita” (Daughter of the Sun) in 1999. Their album “Sēju vēju” (Sow the Wind), which includes the song “Kas varēja grožus vīt” (Who Could Weave the Reins) was released in 2000, and “Agrie gadi” (Early Years), which includes the song “Kas to teica” (Who Said That) a compilation of older songs from 1981 to 1993, was released in 2002. Their most recent album, “Kaza kāpa debesīs” (The Goat Climbed into the Heavens), was released in 2003. At this time, the group’s members are Reizniece, Māris Muktupāvels (vocals, kokle), Gatis Gaujnieks (vocals, bass), Egons Kronbergs (guitar) and Vilnis Strods (percussion)
The song “Kas varēja grožus vīt” (Who Could Weave the Reins):
This song is taken from the 2000 release “Sēju vēju” (Sow the Wind), and shows the group clearly defining their own unique post-folklore style. Latvia has a long pagan history, and many folk songs and verses reflect this. This song is an example of that, as it speaks of the miracles that the “dieva dēli” (sons of the gods) and “saules meitas” (daughters of the sun) could perform, including weaving reins from a flowing stream. “Dieva dēli” and “saules meitas” were also titles given to priests and priestesses of the ancient Latvian faiths.
The song “Kas to teica” (Who Said That):
This song, originally recorded in 1993, and re-released in 2002 as part of the “Agrie gadi” (Early years) collection, shows the group in a more traditional folklore setting. The ancient Latvians worshipped the sun, and cosmological and astrological movements were important to them. The song’s lyrics are about the sun, which, even though it sets, does not sleep – as it continues to work throughout the night – rising in a different place than it set. The song also speaks of the interaction between the sun and moon, how the moon follows the road that the sun traveled.
Marija Naumova (Marie N):
Marija Naumova achieved international attention with her victory at Eurovision 2002 with her song “I Wanna”, the first victory of a contestant from Latvia. She has been involved in singing and the stage her entire life, singing in an ensemble at the age of 6, and speaking roles in theatre at the age of 10. She has participated in many festivals and song competitions, often with great success. She received exceptional notices for her work with the internationally known Latvian composer Raimonds Pauls, as well as her participation in the 100th birthday celebration for George Gershwin in 1997. Already in 2000, Marija was one of Latvia’s most popular singers, and her album “Ieskaties acīs” (Look into the Eyes) quickly achieved platinum status in Latvia. Proving her versatility as a singer, she released a French-language album “Ma Voix, Ma Voie” in 2001. Her most recent album, “Noslēpumi” (Secrets), featuring the song “Ar tevi”, was released in 2002. Marija has performed all over Europe and the United States, and continues to be one of the brightest stars of Latvian pop music.
The song “Ar tevi” (With You):
“Ar tevi” (music by Andrejs Jevsjukovs, lyrics by Marats Samauskis), is a gentle ballad featuring the mature voice of Marija Naumova. It is a tender song of love, and Marija sings “vienmēr palikšu ar Tevi” (I will always stay with you) and “vienmēr mīla pārpaliks” (there will always be enough love).