The Baltic state of
Latvia is now part of the European Union
but it is only 14 years since independence
was declared from the Soviet Union.
Soon afterwards the producer of this
disc, John Kehoe, heard a series of
radio programmes of music from the Baltic
states made by the conductor, Krišs
Rusmanis, who is half-Latvian. Enthused,
in early 1993 he went to the capital
Riga with Rusmanis and the backing of
Conifer Classics with a view to recording
some local music. In the booklet he
tells how they listened to tapes of
more than thirty composers before deciding
on Pēteris
Vasks. These recordings were made a
year later in the presence of the composer.
Since then his music has become widely
known and his recorded works include
two symphonies and a violin concerto.
All the music on this disc dates from
the period before independence
i.e. 1979-1989. The style is an interesting
fusion of musical techniques. Whilst
it generally sounds tonal there are
aleatoric passages and some influences
of minimalism. Vasks seems to obtain
his artistic inspiration from Latvian
history (the country was occupied for
nine centuries) and landscape (miles
of forests).
Cantabile,
the opening work for strings, is the
second piece I have recently come across
for which the composer only allowed
himself use of white notes on the piano;
the other was Maxwell Davies’s Lullaby
for Lucy. In neither case does the
piano feature but this seems to be a
valid technique for creating a particular
kind of limpid sound-world. The aim
was to tell "how beautiful and
harmonious the world is" and there
can be little doubt of the composer’s
success. In the course of eight minutes
the music sings in many different ways
but invariably joyously and, eventually,
quite sensuously.
The Cor Anglais
Concerto which follows is, for
me, the most important work on the disc.
Aside from the rarity of the genre,
it is music of great feeling and imagination.
This is not a virtuoso concerto in which
the solo instrument dominates. Percussion
instruments play an important role and
textures are carefully balanced to give
a frequent quasi-chamber feeling to
the music. In four continuous movements
there are two elegies separated by folk-derived
music and a magical postlude inspired
by nature. The work owes its origin
to a commission from Thomas Stacy, cor
anglais player of the New York Philharmonic
Orchestra. Vasks was initially reluctant
to accept but I am certainly glad he
eventually did. The soloist here, Normunds
Schnee, principal oboist with the Latvian
State Symphony Orchestra, plays most
convincingly.
The title of the disc
is taken from the work presented third
– Message. This
is scored for string orchestra, two
pianos and percussion and is described
by the composer as a "battle between
the forces of good and evil". The
influence of minimalism seems greatest
here and, although there are dissonances,
the ultimate musical message seems to
be optimistic. A variety of percussion
instruments are used, often as counterpoint
to passionate sounding strings.
Musica dolorosa
is dedicated to the composer’s sister
who died shortly before it was written.
This is Vasks’ most tragic and personal
work although it does not seem unremittingly
bleak. The solo cello enters after eight
minutes or so in impassioned vein and
the music builds to an anguished climax
which is abruptly halted.
The final work Lauda
was conceived as an extended song of
praise to the Latvian nation. The title
is based on Psalm 150 (Laudate Dominum)
and national folk dances provide some
of the material for its seven linked
sections. A variety of moods are created
but there is little hint of celebration.
The overall impression was of a symphonic
poem in the mould of Ma Vlast
although the idiom is, of course, rather
different.
The playing of the
Riga Philharmonic Orchestra is of a
high standard and the commitment of
Rusmanis to the music is evident throughout.
I was also impressed with the recording
which is natural, well-balanced and
has real depth. The documentation in
the booklet is detailed and interesting.
All round, this disc would serve as
an excellent introduction to this important
contemporary composer. If I had to be
critical of something, it would be the
uninspiring (and uncredited) picture
on the front cover and the fact you
won’t need my level of presbyopia not
to be able to read the information on
the back inset without an artificial
aid. But I should not end on a negative
note. This is one of a new mid-price
series of contemporary music reissues
from RCA called ‘Catalyst’. It looks
well worth exploring, and this Vasks
instalment is a highly successful disc
in its own right.
Patrick C Waller
Normunds Schnee (cor anglais) 
