Choral music by Lūcija Garūta: from sweet-voiced to incendiary
Thanks to the boom in female composers being rescued from oblivion lately, I was sent a CD by Latvian Lūcija Garūta (1902-1977). The album is entirely dedicated to her choral music and named after the opening song Apple Tree, which she composed in 1956. A number of pieces have their premieres on this album.
Lūcija Garūta was a celebrated song composer in Latvia in the early 20th century. During recitals, the halls were full, where she was praised not only for her beautiful songs but also for her delicate piano accompaniment. She studied in Riga with Jāzeps Vītols, among others, and in Paris with Alfred Cortot and Paul Dukas. She was attracted to the aesthetics of the Groupe des Six, but also incorporated elements of Latvian folk music.
In the CD booklet we read that her work – as was the case with many composers from the former Soviet Bloc – can be divided into roughly two periods, before and after WWII. In Latvia great social and cultural freedom prevailed until 1940, when Russia annexed the three Baltic states and a period of repression and Russification began. Anything that even hinted at modernity was banned.
The apparatchiks demanded large-scale choral works in major keys that celebrated the Soviet state. Up to then, Garūta had written little for large choirs and she seemingly accommodated to the new cultural climate. Yet she managed to subtly maintain her own voice within the frameworks imposed by the Soviets.
The Latvian Radio Choir collected material from both public and private collections, but unfortunately compositions from the early period are missing, so we cannot form a picture of her development. Influences of the Groupe des Six are not really discernible in the 21 recorded choral songs, but her music is appealing and heartfelt, and displays a great love for her homeland.
Apple Tree, for instance, is a disguised ode to the fortitude of the Latvian people. This is symbolised by an apple tree on the banks of the Daugava, the longest river in the Baltic States. The water ‘sighs in restlessness, but the apple tree – your people – will never die’. The harmonies of the beautifully alternating male and female choir switch between sweet-voiced euphony and wistful lamentation, with a slightly dissonant touch.
This is even more true for May we Latvians forever be free to a poem of herself, which Garūta probably composed in 1940. With its sing-along melodies, this breathes the atmosphere of folk music, while uncouth, Russian-sounding basses seem to allude to the ruthless scourge of the occupying forces.
With its sudden changes between major and minor, extreme dynamics and highly dissonant exclamations, The Voice of Peace is one great indictment of war: ‘man was not born to be mowed down in senseless death’. – Not surprisingly, Garūta’s work faded into the background at the time of Soviet domination.
The performance by the Latvian Radio Choir is outstanding and soulful. Conductor Sigvards Kļava and his singers deserve credit for bringing these compelling songs out from under the dust.
https://www.youtube.com/watch?v=ajwcDD7lIqo&ab_channel=SKANI
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