The story of peripheral music. Review of the Valmiera Summer Theater Festival concert “Citu lysi svetki” / Diena

In the past, only sheet music ensured the preservation of music much longer than the lives of its authors, but in the last hundred years, recordings have also come to their rescue. Their storage formats have changed from tangible tapes and records to digital platforms, however, with the change of generations, the younger ones no longer consider this music relevant or simply don’t know it. The big concert held at the Valmiera Summer Theater Festival on August 6 A celebration of other songs the initiator, composer and musician Jēkabs Nīmanis, emphasizes that songs live only when they are played. He used to play the clarinet himself hardcore group Pest of a Child, therefore knows that the mass media of the nineties and zero years in Latvia are not well covered underground there was quite a lot of great music on the stage, which should be given the opportunity to play, because it is also the wealth of our culture, which is worth converting into this format – choir and orchestra.

The generation for whom this music was important at that time has long since grown up and is slowly beginning to forget it. Well, it has been amply reminded, the recording of the concert can be heard on Latvijas Radio 3 Classic archive, and this is a very important event for the preservation of our less documented culture. In the conversation before the concert, Jēkabs Nīmanis called it a social experiment or a story of peripheral music. The misconception that Brainstorm is almost the only thing that has happened in Latvian popular music in the last three decades, cultivated not by the band itself, but by the mass media.

A symbol of freedom

Artists, creating music not to order, but for themselves and a small circle of listeners without the goal of pleasing everyone, can feel much freer and more relaxed. That is why the possibility of unusual shining pearls that “official composers” would not allow, counting on the fact that they might not be understood and accepted, even if the “customer” is just a mass of listeners who by inertia demand an easy to understand and fun sound background for parties, increases. If people do not have the opportunity to learn that there is something else besides the proven values, they may not even realize what they have stepped on when they walk with their heads toward the sky.

In these par underground In the arrangements of the composers Oskars Herliņš, Platon Buravicks, Edgars Mäken, Sabīne Ķezbera, Emīls Zilberts and Jēkab Nīmanis himself, who were directly or indirectly involved in the so-called processes, some of these lesser-known songs have been given a new lease of life. Together with the orchestra Riga and a choir of volunteer singers gathered at the last moment (almost all choirs were busy at the concert at that time The song dances. The dance sounds in the Mežaparks stage) actors acted on the stage, acting out a performance that tells about twenty to thirty years of our cultural history and which, as it should be at a theater festival, should also fulfill an entertaining function and cause fun for the visitors. Musically, at that time, the fresh breezes of world rock music came in, which inspired young people to play original Latvian music, the purpose of which was no longer the support of the national revival movement, which was almost married to rock music until 1991.

The make-up and clothes of the actors do not look like the nineties, but after the newly flourishing new punk scene seen at concerts at a festival After two, rather, it seems to be reproduced after Jura Podniekas in the film Is it easy to be young? (1986) sample of punks seen. In the period covered by the concert, such ostentatiousness was not common, and the young people looked less conspicuous, dressed in cheap humpals that had just arrived at the time, believing that a genuine musical message was more important than one’s image, and the quality of recordings was not a priority or was not available due to lack of funds.

Times are branching

The skill of both the arrangers and the director and playwright Mārtiņš Meiers to subtly interweave quotes from other times is welcome, even though it is slippery from the point of view of the concept, for example by bringing the accompaniment of the song of the author of many hits Māras Šverns closer to the instrumental music of Imantas Kalniņš from the film Blow wind! (1973) or before Lotte’s Song Through the dark excellent version (Edgars Mäkens) in a short song quoting modern composition and guitar playing talent Gati Ziema (“In the dark days of December”). But why is the work of Andras Indāns, a member of several important bands from the stage covered by the concert, represented from a later stage? The piece is already great, but in the original version performed by the composer Anna ķirse Gas of Latvia song The girl and the city is from 2015 – a period of recent times in which A celebration of other songs as if not looking.

At the end of the concert, when the authors came on stage, the songs of Damby earned the biggest ovation Uh, boss the leading guitar part seems like it was created for a brass band – anthemic and impressive (arranged by Platons Buravickis). It seems that due to the version closer to the traditions of Latvian choral singing, the greatest future use will be gained by the former groups also represented here Huts the song arranged by the leader Oskars Herlinis One normal day. It is from a very important group Stones of sadness temporary successors – associations Rock garden – repertoire, when the excellent vocalist Helena Kozlova was replaced by Ieva Prande and the search for the “real” soloist continued. On the other hand, the manifestations of any period of time spread their sprouts in other territories, moreover, such small nuances are known only to those who experienced the specific period, and future generations do not care whether it is the nineties or other years – it was all long enough anyway , and those who remember it will soon take their memories of Carthage, Circus a bed Hospitalali Street with you to the grave.

Archive addition

At the end of Hardija Lediņa’s Year (2015), announced by the Latvian Center for Contemporary Art, all of his groups Workshop for the restoration of non-existent feelings avant-garde music album Kunzendorf and Ossendowski (1985) performance in the National Library of Latvia in an orchestral arrangement. The sheet music was also created by the composer Platons Buravickis, who was involved in the arrangement of the songs for this concert, after the recording, the chamber orchestra played Sinfonietta Riga under the leadership of conductor Normund Schne. It was the first case when a large-format concert played according to the notes was held, which was based on Latvian music that was only unofficially distributed on tapes (transcribed from one another) at the time of music creation. underground sound material that has survived only in recordings, for which notes had not yet been written.

At that time, Platons Buravickis emphasized that the result of his work will now forever remain in sheet music archives as a document of the history of Latvian music, where it will be possible to read and understand the handwriting of Lediņš’s unique experimental sounds even if the audio recordings are not preserved for some reason. Before the concert A celebration of other songs Jēkabs Nīmanis also says that the ninetieth and zero years of Latvia will be announced in it from now on underground the music will be available in sheet music and choirs could sing some of it even at the big Song Festival in Mežapark alongside the repertoire heard there for decades. Whether it will happen, it will be the conductors’ choice – once again to choose Broken pine trees and For my homeland or still be more creative and try something different. It was not for nothing that the blue bus road sign with the stop inscription “Dikļu skola” was on the stage in the concert performance – as a reminder that it was in this Valmiera district parish that the very first Latvian song day took place in 1864, from which the still alive Song Festival tradition grew.

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