“At first I thought that maybe there would be a concert – the same as in 2016, but over time I realized that there will not be such an opportunity, because it is time and we all have to be careful. I joke that the concert may be later, celebrates her birthday when she wants, “in an interview with LR3” Klasika “laughs singer and composer Lolita Vambute, who on August 28 celebrates a beautiful and significant anniversary of life.
Recordings of her songs often appeared on radio and television in the 1970s and early 1980s, but after refusing to cooperate with the National Security Committee, she was expelled from the Composers’ Union and moved to Germany in 1983.
After regaining her independence, Lolita Vambute often lives in her native Latvia: after returning to the stage, she collaborates with the Mirage Jazz Orchestra and performs in concerts. A total of about 300 songs created! We also meet with Mrs. Vambute in a cordial conversation in the “Classic” wave.
Gunda Vaivode: Lolita, first of all a heartfelt greeting on your birthday! It is a pleasure to see you again in our radio studio, because this time has removed us all. Are you ready to meet friends in your homeland this time, or do something musically?
Lolita Vambute: At first I thought that maybe there will be a concert – the same as in 2016, but then over time I realized that there will not be such an opportunity, because it is time and we all have to be careful. I joke that the concert may be sometime later, because the Queen of England also celebrates her birthday when she wants!
That’s true! So we still have a musical event ahead of us, but in terms of what you’ve already done – and there’s been a lot! Your songs are best known to Latvian Radio 2 listeners, but your voice is often heard during the non-academic half-hours of “Klasikas”. And the live broadcast of your previous anniversary concert also sounded right in “Klasika”. However, I assume that not many people will know that you are a graduate composer who studied with Jānis Ivanovs. Our sound library contains a symphonic poem written by you, recorded by the Latvian National Symphony Orchestra conducted by Leonid Wigner. How do you remember this time and your studies with Jānis Ivanovs?
The studies were very interesting.
I had lessons with Jānis Ivanovs twice a week, and every time I was really scared … I had a great awe for this great composer, this great man who stood in front of me like a big mountain, and I brought them those little pieces …
At the beginning I didn’t know how to write so widely and he didn’t expect it from me either, but he accepted everything. And every time I came, he praised me! I went like in the mountains – down, up, down, up. I experience that I may not have written something correctly and well, but he suddenly praises me! And it was twice a week… It was a huge experience, but also a huge respect for this wonderful composer, this wonderful person.
Do you remember the recording of the Symphonic Poem and Leonid Wigner?
I remember how I started writing it. Before that, for the first time, together with a group of students, I went to the contemporary music festival in Warsaw – with us was Professor Lija Krasinska …
… a legendary personality who learned to transpose any Beethoven symphony and anything else in any tonality.
Yes, indeed, she was a wonderful, smart teacher. And Tatiana Kurisheva was still with us at that time.
When we went to concerts for the first time, we didn’t understand anything at all, because at that time we were not allowed to talk about contemporary music, we were not allowed to listen. There was no such possibility either. Professor Krasinska was also surprised.
We marveled at the unusual compositions of Lutoslavski, Penderecki, Thaddeus Burd. Composers were from all over Europe. Interestingly, the festival was organized by the Warsaw Composers’ Union to move the Polish people and the entire art world away from the Stalinist era. We lost our minds … It was very interesting. I returned to Latvia and I had to start writing a Symphonic Poem …
It was 1969 when it was recorded.
But I wrote it in 1968.
When I started writing this work and brought it to Professor Ivanov to show it, he asked me the question: Lolita, are you in love? I tell him – yes, Professor, I’m in love – in Warsaw …
Because it is the first language of my childhood. Okay, I didn’t speak it well, but I understood everything. I really liked Warsaw. When I had written the work and everyone listened to it in the exam, Professor Krasinsky came to me and said: Lolita, I did not expect it from you! Very interesting – compliment again!
And Wigner?
Yes, Wygner said something there: well, why do you have to play the piano there at all – because there is also an arrangement for the piano.
Then Wigner had answered – well, but look at what girl wrote this poem … (laughs)
What else in your sheet music folder is from so-called academic music?
There is one romantic cello solo with piano, then played by Ligita Briede, now Zemberga. If there were any events at the Conservatory, then of course I had to sit at the piano and Ligita played solo. I wrote a lot of songs, there was also a string quartet, sonatas –
During the conservatory, I wrote only serious music, although I was already imbued with jazz and pop harmonies.
When the Ivars Mazurs Orchestra, which was the best jazz orchestra in Latvia, played, I always sat on the sidelines – three times a week they played in the Riga Electromechanical Factory Club. I really took it all in myself. Studying with Jānis Ivanovs also brought me these harmonies, but he did not change anything at all, did not force me to do anything differently – his teaching method was tolerant.
We also know this well from the experience of Raimonds Pauls …
Yes!
When I started writing my ballad on the radio, Professor Ivanov praised me. Said – very good, so just keep writing! And if you need sheet music and pencil, come to me.
What do you consider to be your so-called light music classics?
From his songs – “I believe in you” with the words of Ilze Binde. Music was made first, and Ilze perceived it very well, then writing down her feelings. This is Ilze Binde’s love story – this subtext is no longer known to anyone. She experienced a great deal of love at that time … Then I was told this – what kind of words about the free world are there for you in that song, dear God, you can’t sing it at all! But Ilze had so organically merged it with music, so well she felt it musically. Another song with the words of Māra Zālīte “I’m not asking you” – it’s a bigger ballad. Maybe also “How a Rose Burns”.
I also really like your fixed song with improvisations, with the words of Māra Zālīte – “If only now”.
Ieva Kerēvica sang it perfectly in my concert.
But you sing it yourself perfectly in the 1979 recording!
It was very interesting.
Before recording, I went to Herbert Ozolins – he usually made me sing in opera style. Can you imagine what he got from me ?! (laughs) And the nice director Rūtentāls said – oh, God, coloratura has come!
That’s what it sounds like … How do you celebrate your birthday?
In a small circle of very dear friends. Among the closest friends. Of course, so will my sister.
And what would you like for yourself?
To be allowed to live as it is now: I have come to Latvia for almost a year. I will not go to Germany now, and so on.
I have so much love for Latvia, for Riga, that I can’t live without it at all! I feel huge, literally unbearable longings.
I have to walk the streets of Riga, I have to love all the houses, people, we have to love our beloved artists, singers. I like to go to all concerts, mostly symphonic ones, but at the moment there are few such opportunities, I have to go further, but I have to avoid driving. So that the beloved artists do not have to create such a large gap between the concerts, so that the concerts take place smoothly, so that they can participate and make us happy – so that they are all healthy and happy …
On behalf of the listeners of “Klasikas”, we wish you the same! May this day be beautiful and happy next year!
Thank you!
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