Music born of the embrace and inspiration of a rich inner world.
Music created by an extremely sensitive and fragile giant.
Music that, when touched, asks many more questions of us than it provides answers.
Music in which thought impulses flare up and glow upon coming into contact with each other. Then they cool down, allowing recovery and inhaling of the tense atmosphere. But they never grow cold; nothing here is ever tepid.
Music that addresses its time copiously and without compromise. The lightness of creation is not a priority, while the inner voice of truth is.
Music about which there is so much one would wish to ask its composer...
For Kalniņš, each symphony is like an important boundary; he seems to fill each symphony with conclusions and verities he has collected over a longer period of time. This is what makes these works so saturated and significant in terms of content. It is no coincidence that he has used his newest substantial work to look back on the path he has taken
in life up to this point, also touching upon some very intimate memories.
– Imants Zemzaris, composer
Cello Cēsis Festival Highlights by Sinfonietta Rīga and soloists Marko Yllonen, Boris Brovtsin, Kristīne Blaumane, Mario Brunello, Gunta Ābele, Kārlis Klotiņš & Ēriks Kiršfelds features live concert performances recorded in Cēsis Concert Hall in September of 2015, 2016 & 2017. This album features select movements from works for cello and orchestra by Latvian composers Pēteris Vasks and Anitra Tumševica as well as well as Antonio Vivaldi, Johanness Brahms and Franz Schubert.
At this festival we’ve met excellent cellists and heard outstanding, unforgettable interpretations. I believe that’s the most important element of Cello Cēsis, and at each edition of the festival it brings music aficionados and professionals a new discovery or surprise. Some of these musical interpretations can be heard on this album.
Artistic director of the Cēsis Concert Hall
Daugava by poet Rainis and composer Mārtiņš Brauns has great cultural and historical value. The work is closely linked with the birth of the Latvian state in the early 20th century as well as with the country’s path towards the restoration of its independence at the end of the 20th century.
“Sun, Thunder, Daugava” – the high point of the poem – has experienced a tremendous wave of popularity. As Rainis had “cried out” his Daugava against the slaughter of the nation, so Brauns replayed this drama, now as part of a new arc of development, against the loss of the nation’s identity.
Several years ago we approached our contemporaries, our master composers, and invited them to embark on a journey of the imagination in a direction that is as yet relatively unfamiliar to Latvian music. The chamber symphony – significant ideas for a smaller orchestra – turned out to be a tempting challenge!
Latvia has never before had an ensemble like Sinfonietta Rīga. Our repertoire is being created today, and the ensemble regards this as a strategic and responsible mission.
The compositions on this recording are significant and enduring. We believe that they reflect the unique style of each composer in a vivid and exciting way, allowing no compromises. They have revealed luscious colours and enchanting lightness and nuance in the orchestra’s sound.
This dialogue is nowhere near its end, and we can expect many more unique revelations and creative pursuits knocking down boundaries.
The main theme of rising fourths in Arnold Schoenberg’s Chamber Symphony No. 1 was destined to fly high and remain in the musical heavens for eternity. I am still fascinated by the notion that cosmic ideas do not always require grandiose resources, that the realisation of such ideas through the energy contained within a relatively small ensemble nevertheless reaches its goal with perfect precision.