A soulful instrument: Kokle

 

Various
99 Latvijas Kokles Jāņos
Dzied un spēlē labākie koklētāju ansambli
Best of Latvian Kokle at Midsummer's

2007

 

Tracks: 

 

01. Jandāls - 2:54
02. Man Atnāca Jāņu Diena - 2:20
03. Āvu, Āvu Baltas Kājas - 1:54
04. Jāņu Mātes Pagalmā - 1:47
05. Brālītis Un Māsiņa - 1:28
06. Kādi Ziedi Rudzīšam - 2:49
07. Bērzgales Polka - 2:53
08. Es Sakūru Uguntiņu - 4:27
09. Krustadancis - 2:10
10. Visu Gadu Dziesmas Krāju - 2:19
11. Tumša Nakte, Zaļa zāle - 2:58
12. Lūko Mani, Tautu Dēls - 1:35
13. Gatves Deja - 1:58
14. Ozolīti - Zemzarīti - 5:45
15. Tūdaliņ, Tāgadiņ - 1:25
16. Činku, Činku, Grabu Grab - 1:32
17. Kurg (Dzērve) - 1:33
18. Kumeliņi, Kumeliņi - 1:25
19. Pirmdienā`I Silta Saule - 2:30
20. Sārabumbāls - 2:08
21. Ekusēze (Diždancis) - 1:56
22. Divpadsmitdancis - 3:05
23. Ritenītis - 1:28
24. Jūdz, Tautieti, Kumeliņu - 3:25
25. Zvejnieciņš - 2:24
26. Svētdien Agri Bārenīte - 1:34
27. Ģērbies, Saule, Sudrabota - 1:04
28. Baltaitiņa Jūru Brida - 2:09
29. Saulīt' Vēlu Vakarā - 4:02
30. Līgotāji - 3:50
31. Tālu, Tālu Aiz Jūriņas - 4:49

 
♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•☆♫

.ღ•:*´♥`*:•ღ. 

♫☆`*♥¸¸.•*¨*•☆♫`*♥¸¸.•*¨*•☆♫

  

 Latvia has a rich folklore heritage. While the country is predominantly Christian, many ancient pagan traditions still exist today. One of the most widely celebrated festivals is the summer solstice. This festival is celebrated in Latvia as well as the New Year.

  

KOKLE AND KOKLE PLAYING

Kokle is the most admired Latvian musical instrument today. Kokles are associated with the oldest, most studied tradition playing styles, but also with great innovation and creativity. There are grounds for believing that kokle playing was ritualistic by nature, and the instrument has some symbolic elements that associate it with mourning the dead and perceptions about the journeys of souls. Mythologically, the kokle is associated with the singing, "soul-inhabited" tree (the kokle was traditionally carved of wood). Mythologically, kokle, or "the golden kokle" is associated with the heavenly spheres and occupies the highest point in the hierarchy of instruments. People's memory holds a perception that "the kokle is from God". Modern kokle is a widely used and noted part of folk music heritage, a symbol of the spirit of folk singing. Although similar tools are known throughout Eastern Europe, from Prussian lands to Central Finland and Karelia, it has not discouraged the perception that the kokle expresses the unique Latvian identity.

Kokle tradition is believed to be more than two thousand years old. The oldest Latvian archaeological discovery related to the kokle comes from the 13th. century, the first written testimony from the early 17th century, but the oldest physical instrument - the so-called Cours lute, held at the Latvian National History Museum, goes back to the year 1710 (that year is carved on the bottom), when it became the property of Bokums family from Kurzeme.

Testimonies about kokle music are more recent: the first known tune was notated in 1891, but the first recordings and motion picture soundtracks are from the 1930s. The currently popular Kurzeme kokle repertoire consists of instrumental pieces, called "Dances", and song accompaniment. In Latgale the kokle repertoire includes songs and dance tunes along with an accompaniment of holy (spiritual) songs.

At the turn of the century, Latvian traditions of kokle playing were mostly lost and ancient instruments could be heard only in certain places in Kurzeme and Latgale. The revival is associated with the folklore movement of the 1970s and 1980s turned the spotlight onto the most ancient instruments untouched by modernization, including the kokle. Its known repertoire, as well as the living kokle playing tradition, as saved, for instance, by the Suiti kokle player John Poriķis, provided the basis for the renewal of this tradition. No less important to its revival were the musical possibilities the instrument presented. Above all, the kokle is an instrument that allows for great freedom. It can produce a gentle, sweet sound, but may also be disturbing and vehement. The number of kokle strings is just right, about the count of fingers of both hands. The basic number of tones is just as large, but they can be colored in many ways. Also kokle strings are considered free, because, unlike other stringed instruments - violins, guitars - the sound is not dampened by a bridge, which would directly connect them to the resonator. The kokle is a soulful instrument. It opens up best in silence, when the only listener is the player. The kokle responds to a variety of moods, it can express both excitement and melancholy.

Valdis Muktupāvels

 

source 

 

  

wiki

 

*♥*

 

 

¡Baila, Baila Latvia!

  

Latviešu danči
Latvian Folk Music Collection

1999

Tracks:

01. Makaidū  
02. Cūkas driķos     
03. Eilanders
04. Enģelits  
05. Mugurdancis
06. Kurzemes mugurdancis 
07. Dzīsme
08. Skroders 
09. Diždancis  
10. Tūdaliņ tagadiņ 
11. Šaine
12. Žīga 
13. Padespaņs   
14. Lielā Jūle 
15. Garais dancis

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•☆♫

.ღ•:*´♥`*:•ღ. 

♫☆`*♥¸¸.•*¨*•☆♫`*♥¸¸.•*¨*•☆♫

source ; )

Latvian music for happy feet

by Daina Bolšteins

“It makes me feel happy.” A British executive of a prestigious international company said this when he heard the new Latvian Folk Music Collection’s Latviešu danči (Latvian Dances) playing as telephone on-hold music at his company. Overall, that is quite an accurate assessment of this disc.

To put it another way, the music on this album is, in two words, quintessentially Latvian. As ethnomusicologist Valdis Muktupāvels writes in the liner notes (in both Latvian and English, although a few of the English phrases are a bit awkward), Latvians love to dance. This love is truly evident in the joyous music on this disc.

The music was performed by a number of people, including Māris Muktupāvels (producer of this album) and Ilga Reizniece, both of whom are well known and highly respected in Latvian folk music circles. Other notable performers include Gints Sola, guitarist for the pop-rock group Jauns Mēness, and Mikus Čavarts, like Reizniece and Māris Muktupāvels a member of the folklore ensemble Iļģi. One surprise addition is Ilmārs Mežs and his family. Mežs, known in part for his research into Latvian demographics, also is lead singer for the folklore ensemble Eilenders.

Included in the liner notes are instructions (in Latvian only), written by Sniedze Grīnberga, for dancing the dances. It’s a wonderful idea, but does not work all that well. The directions particularly would not work well for two groups of people (other than those who do not read Latvian): those who are highly visually oriented and those who have no Latvian dance knowledge or experience. These people might be able to figure out only the simplest dances. I am quite visually oriented when it comes to dancing, never having been a big fan of written dance instructions with no illustrations because I have a very difficult time picturing the steps and formations. As for the dances on this disc, I was able to follow along the instructions mostly only to the dances that I have danced before.

However, on a purely musical level, this is absolutely fantastic music. The second track, “Cūkas driķos” is one of the more rousing versions I’ve heard and I had an almost irrepressible urge to begin dancing down the hallways of my office when I heard it. The tracks with vocals make you want to sing along at the top of your voice. The 15 dances chosen for inclusion on this disc offer a nice variety: some are fast, others are slower, some have vocals, others are instrumental. Most Latvians will be familiar with at least a couple of dances, such as “Tūdaliņ, tagadiņ” and “Mugurdancis,” which are classics that children learn at very young ages. Yet there also are tracks that will be new to many listeners.

Another enjoyable aspect of this disc is that dancers were a part of the recording. Not only does the listener hear the wonderful music, but also the actual dancing. In other words, it is very much a live recording. For those of us living outside of Latvia, at times this disc is as close as many of us will come to an authentic evening of Latvian dancing, singing and merrymaking.

This disc will make Latvians feel Latvian to the depths of their souls (and to tips of their toes) and it will give non-Latvians a greater appreciation of Latvian culture. Naturally, this is the somewhat biased opinion of a former dancer who is crazy about both Latvian dance and music, but if a half dozen co-workers from around the world at my office enjoyed Latviešu danči, I am certain all readers will as well.

source ;)

 

♥

Go, Little Goat...

   

Veronika Povilionienė, Petras Vyšniauskas 

Išlėk, Sakale [Fly, Falcon, Fly]

1993

Tracks:

01. Islek, sakale... (Fly, Falcon...) [06:14]
02. Bliuzas (Blues) [03:56]
03. Vai tu dziemed... (Oh, You Wormwood...) [02:45]
04. Sutartine [04:24]
05. Eik, ozeli (Go, Little Goat...) [05:22]
06. Lek gervele (A Crane Is Flying...) [03:14]
07. Kad jau saulute (Cause The Sun...) [04:44]
08. Sutems tamsi (Dark Night Is Coming...) [06:38]
09. Sutartine (Lament) [03:50]
10. Rauda [01:43]
11. Ein motuse (Mother Is Going...) [03:07]

Recorded in Vilnius, Lithuania in 1992.

Soprano Saxophone, Bass Clarinet – Petras Vyšniauskas
Vocals – Veronika Povilionienė
 Backing Vocals – Juozas Bakutis, Valdas Matulis, Vilmantė Liubinienė, Virgilijus Liubinas, Virginijus Meškinis, Vita Matulienė, Zina Stirneckaitė

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•☆♫

.ღ•:*´♥`*:•ღ. 

♫☆`*♥¸¸.•*¨*•☆♫`*♥¸¸.•*¨*•☆♫

This duo of first class musicians has been well-known for over a decade. Veronika Povilionienė is the most famous Lithuanian folk singer with a career spanning more than 40 years. She is always creatively challenging herself by engaging in various projects with jazz, pop, and rock musicians. Petras Vyšniauskas has made his mark as a top saxophonist, well-known for his masterful jazz and contemporary music interpretations. Their innovative, freely breathing songs are a beautiful mix of folk music sensibility and modern classical virtuosity.

Ugnius Liogė

Veronika Povilionienė, the most famous performer of Lithuanian folk songs, has become a symbol of national culture. Originally from Dzūkija, the singer has inherited the tradition from the old singers of this region. Veronika Povilionienė's voice is strong and evocative; it reveals, with expression, the extraordinary beauty of the Dzūkian monodic songs, their modes and melodic turns. Apart from abundant solo performances and recordings, the singer frequently gives concerts with the folk ensemble Blezdinga and the ensemble of Indian classical music Lyla. The singer is also famous for her collaborations with jazz musicians and contemporary classical composers (saxophonist Petras Vyšniauskas, composers Vidmantas Bartulis and Bronius Kutavičius), other renowned artists, poets and film directors. One of her most notable recent projects is the program of historic and war songs Kada sūneliai sugrįš (When Our Sons Come Back), arranged by the composer Giedrius Svilainis and recorded with the Lithuanian Armed Forces’ Honour Guard Band.

  

  
"Soprano saxophonist Petras Vysniauskas, a Lithuanian, is I believe one of the most profoundly original musicians concentrating on that instrument -- his jagged phrases expanded on determinedly original intervals and his sound is powerful -- stronger and more pointed than Sam River's has become, for instance, more densely concentrated than the late Steve Lacy's, if not polyphonic in the manner of Evan Parker." - Howard Mandel, NYC, USA, 2007

"... Petras Vysniauskas is one of the best soprano saxists we've heard in many years ... " - Bruce Gallanter, Downtown Music Gallery, NYC, 2006

"Something of the rugged beauty of the Lithuanian countryside and the passion of many of his fellow countrymen has been breathed into his music. For me Petras Vysniauskas' music remains unforgettable because of his clear, individual concept. The use of themes from traditional folk music is one facet of this saxophonist, who reflects both the modern development in jazz and the sound idioms of the new and latest improvised and composed music. However, as he himself says, his feeling for folk music is part of his musical identity. And he adds: "In Lithuanian folk songs I hear echoes of John Coltrane; I try to combine this with the free form of expression offered by modern jazz". (Bert Noglik/1990) 

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