The Latvian Radio Choir, under the baton of conductor Sigvards Kļava, has once again captivated audiences with its annual tradition of opening the year with the sacred music of the Orthodox Church. This year, the choir performed at the historic Dzintari Concert Hall, concluding the evening with Valentin Silvestrov’s poignant “Prayer for Ukraine,” a piece that has become a staple in their repertoire. This tradition,which began in 2023 with the programme “Orthodox Prayers and Chants,” continued in 2024 with “Orthodox Christmas: Georgian polyphonic Chants,” and now in 2025,the choir is preparing for a special anniversary concert dedicated to the sacred music master Arvo Pärt on February 8.
The 34th program of the “Come Prima” cycle, held on January 8, 2025, at the VEF Culture Palace, featured a unique blend of Baroque and Classical Polish-Ukrainian music. The men’s chamber choir ”Logos,” led by Serhijs Zadorozhnyi, included two vocalists from the Latvian Radio Choir—tenors Kārlis Rūtentāls and Jānis Kurševs. Zadorozhnyi, a graduate of the National Academy of Music of Ukraine, continues his studies in Latvia, bringing a rich cultural exchange to the ensemble.
The concert program highlighted the enduring importance of Christian solidarity, transcending denominational differences. Krzysztof Penderecki, a Catholic composer, and his 17th-century predecessor Bartholomew penkel, shared the stage with Ukrainian Orthodox music classics, whose creative roots trace back to Poland and Italy. The evening featured a diverse selection of works, including Penkel’s mass for four voices, Mikolas Dilecka’s quartets, and choral concerts by Dmytro Bortniansky, Maksims Berezovsky, and Artemia Vedel. These compositions, though written in ancient ukrainian and with varying psalm numbering across denominations, showcased the rich heritage of Ukrainian sacred music.
Though, the concert was not without its challenges. The program’s lack of clarity in naming the compositions and the unfamiliarity of Ukrainian choir music to Latvian audiences highlighted the need for greater musicological preparation. The vocalists themselves admitted that this repertoire remains largely unexplored territory. Additionally, while the Latvian Radio Choir set a high standard, the performance of “Logos” revealed the challenges faced by smaller ensembles in matching the artistic depth and experience of Kļava’s renowned choir.
Despite these hurdles, the concert underscored the timeless relevance of sacred music in fostering unity and cultural exchange. As the Latvian Radio Choir continues to explore new musical horizons, their commitment to preserving and sharing the sacred music of the Orthodox Church remains unwavering.
| Key Highlights of the Concert | |
|———————————–|–|
| Venue | Dzintari Concert Hall, VEF Culture Palace |
| Conductor | Sigvards Kļava |
| featured Ensembles | Latvian radio Choir, Men’s Chamber Choir “Logos” |
| Notable Compositions | Valentin silvestrov’s “Prayer for ukraine,” Penkel’s mass, Dilecka’s quartets, Bortniansky’s “God Rises, His Enemies Are Scattered” |
| Cultural Exchange | Ukrainian and Polish sacred music, led by Serhijs Zadorozhnyi |
For those eager to experience the transcendent power of sacred music, the Latvian Radio Choir’s upcoming performances, including the Arvo Pärt anniversary concert, promise to be unforgettable. Explore more about their journey and upcoming events on their official website.The Timeless resonance of Choral Music: A Deep Dive into Latvia’s Vocal Traditions
Latvia’s choral music tradition is a cornerstone of its cultural identity, blending sacred and secular themes with a rich tapestry of vocal artistry. A recent performance by the choir “Logos” at the VEF Culture Palace showcased the enduring power of this tradition, highlighting the importance of timbral richness and emotional depth in choral music.
The Essence of Vocal Excellence
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- Baroque Aesthetics and Classical Nuances
- The Role of Conductors and Ensembles
- The Importance of Tradition for Young People
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The performance by “Logos” was a masterclass in vocal precision and emotional expression. The choir’s male voices,ranging from deep basses to soaring tenors,created a sonorous blend that filled the chamber with a cultivated resonance. The ensemble’s ability to navigate a wide range of timbral variations was particularly striking, as they sought the clearest and most balanced vocal fusion possible.
The emotional contrasts in the performance were equally compelling. From mourning to triumph, melancholic contemplation to psychological tension, the choir explored the full spectrum of human feelings. This emotional depth was anchored in the sacred spirit of the music, which served as the central theme of the performance.
Baroque Aesthetics and Classical Nuances
While the performance was undeniably powerful, it also revealed the challenges of interpreting baroque aesthetics. The works of composers like Penkel and Dileck require a nuanced understanding of baroque affects,which differ significantly from the classical style of later composers. In this performance, the detailing of these nuances was occasionally overlooked, particularly in the first part of the concert.
However, as the program progressed, the choir began to highlight the emotional contrasts inherent in the music. the works of Bortniansky, Berezovsky, and Vedel, though rooted in classical traditions, bear a striking resemblance to the Western European ”Storm and Drives” aesthetic movement. These compositions demand a conductor’s experienced hand to fully realize their expressive potential.
The Role of Conductors and Ensembles
The performance underscored the critical role of conductors in shaping choral interpretations. Serhiy Zadorozhny, who led the concert, demonstrated a deep understanding of the repertoire, but the program’s ambitious scope—spanning one and a half hours—highlighted the challenges of balancing depth and breadth in a single performance.
The article also suggests that interpretations by other renowned Latvian conductors and ensembles, such as sigvards Kļava and the Latvian Radio Choir, Anastasija Kildiša and the Chamber Choir “Ave Sol,” and Māris Sirmais and the State Academic Choir “Latvia,” could offer fresh insights into these works. These ensembles are celebrated for their ability to bring out the emotional and technical nuances of choral music, making them invaluable contributors to latvia’s musical heritage.
The Importance of Tradition for Young People
The article concludes with a thought-provoking question: Is the tradition of the Song and Dance Festival important for young people? This tradition,which has been a cornerstone of Latvian culture for over a century,continues to inspire new generations. While some may view it as outdated, others see it as a vital link to their heritage and a source of modern inspiration.
| Key Highlights of the Performance |
|—————————————|
| Vocal Range | Cultivated male voices from basses to high tenors |
| Emotional Depth | From mourning to triumph, melancholic contemplation to psychological tension |
| Baroque Nuances | Challenges in interpreting baroque affects and classical contrasts |
| Conductor’s Role | Critical in shaping emotional and technical interpretations |
Join the Conversation
What do you think about the role of tradition in modern culture? Share your thoughts on Facebook, X, or Instagram. Let’s keep the conversation alive and celebrate the timeless beauty of choral music together.
Latvia’s choral tradition is more than just music—it’s a living, breathing testament to the power of human expression.Whether through the sacred works of bortniansky or the emotional depth of Berezovsky, this tradition continues to resonate, offering a bridge between the past and the future.Stay Informed with LASI.LV: Sign Up for the Editor’s Weekly newsletter
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