“It was very important for us, specifically for the Latvian centenary, to show our country’s music in all of its splendour and diversity and to prove that Latvia is a global force in the realm of classical music. We recorded well-known compositions and also as-yet undiscovered masterpieces of piano music. The former category definitely includes Jānis Zālītis’ compositions for piano, Jāzeps Vītols’ Berceuse and Jānis Ivanovs’ later preludes. To the latter category belong Vītols’ Song of the Waves, Pēteris Vasks’ compositions from the The Seasons cycle and Arturs Maskats’ wonderful piano poem Kazbegi: Tsminda-Sameba, which is dedicated to us and inspired by the composer’s journey to Georgia. And, of course, Ādolfs Skulte’s Arietta...”
Sergejs, Andrejs and Georgijs Osokins
Release date - December 1, 2017
“Music is the breath of the soul,” said Lūcija Garūta. And I believe that is exactly what she did – she wrote music at times when she could not do otherwise.
This album and indeed my encounter with Garūta’s world began with her Piano Concerto. Among Latvian piano concertos, hers is truly a significant and special composition owing to its unusually acute honesty. And, even though it mediates her very own experience, in it I sometimes also hear the pain of our entire nation. Perhaps that’s because of the folk melodies included within it, for in this work they take on timeless, universal overtones. The other large-scale opus in this album, the Variations, conveys similar power through its use of folk melodies and texts, and through them, it beacons hope. Both of these works are a living testimony to Garūta’s indestructible belief in a bright future, even if such a future can only be found in the afterlife.
Garūta’s combination of femininity and fearlessness, fragility and strength also permeates the shorter pieces on this album. The four Preludes are a true masterpiece recalling Scriabin’s tonal colours; the four different characters expressed in the work are at once united and contrasted. The Meditation, in this version for solo piano, allows us once again to get closer to Garūta’s soul. And the final Little Doll’s Lulling Song came to me completely by accident (or perhaps not so): once when I was visiting Garūta’s apartment in Rīga, I happened to open one of her photo albums, and a small piece of paper fell out of it, upon which this little song was sketched out very lightly in pencil. It was dedicated to the very same little girl to whose memory she dedicated the Piano Concerto seven years later.
This year marks 40 years since Garūta’s passing. In this context, I would like to express my deep gratitude to Daina Pormale, the granddaughter of Garūta’s sister, who with much love and care has been continuously handing down our dear Lūcija’s legacy to me and to future generations.
In short, Garūta reminds me to seek to stay truthful – and for that I thank her.
The work of our trio revolves around collaboration with contemporary Latvian composers. Seeing as there is almost no music originally written for the specific composition of our group - cello, piano and percussion - we need to take an active role in the creation of such music. And for that we need composers, who create the fertile soil for our ‘artichoke’ to grow and flourish. It is precisely in this creative interaction with composers, listeners and concert organisers that the art-i-shock is born: creative surprise, musical adventure. Over the few years of our existence, we’ve already reaped quite an armful of artichokes. And soon they will be joined by already a twentieth piece of music.
They differ very much from each other, and together they form quite a mosaic. They are as diverse as the ardour and sincerity conveyed by their creators during the recording process. But together, our wonderful composers have created a large, beautiful meadow, into which listeners may wade and surrender themselves to the experience of sound, or the art-i-shock.