CB Radio

Mate saule is Mother Sun – and Peteris Vasks worships her. Any meeting or interview with the Latvian composer is likely to end up with a tramp through the forests or a swim in the Baltic. And much of Vasks’s music is a meditation on the eternal attributes of Nature, in a continuum of life which stretches beyond the fever and the fret of his own fast-changing world. Mate saule is an early choral work, its voices oscillating like the shimmer of a sun slowly rising from the horizon, and lit by flares and fragments of chant. Vasks’s choral music has tended to be instrumental in texture, focusing on the overall mood rather than the specific verbal activity of any text he is setting. The ‘white diatonicism’ of Mate saule gives way to more disturbed, aleatoric harmonies and more disruptive textures as political change and human turmoil take centre stage in the late Eighties in Zemgale, a song about the anguished dilemmas of exile. This is a subject at the very core of the work of the Polish-Lithuanian writer Czeslaw Milosz (now resident in the USA); and the three poems set by Vasks in 1994 receive their world premiere recording. They were originally written for the Hilliard Ensemble: here the excellent Latvian Radio Choir works with concentrated focus on the spare harmonies and elusive metres which recreate the wonder of three transient moments out of time.

“Le Sacre du Printemps” (The Rite of Spring) by Igor Stravinsky is regarded as a key work of classical music of the 20th century. Due to its rhythmic and tonal structures, interspersed with numerous dissonances, it created turmoil in the audience at its world premiere in Paris in 1913, but was then able to quickly establish itself as a central work in the repertoire of concert halls.

Thousands of music enthusiasts are drawn each year to the Schwetzingen Festival in the time-honored walls of the beautiful Rokokotheater, an ideal place for Rossini's farse, his light one-act operas from the early part of his career. These operas already contain all the elements with which Rossini later took the music world by storm: melodic inventiveness, ingenious connections between sung lines and orchestral accompaniment, musical humor and emsembles using breathtakingly fast parlando singing. The witty and ironical relaization of these musical comedies by Michael Hampe and conductor Gianluigi Gelmetti with a great ensemble of singers was met with enthusiastic approval and makes the present recordings milestones in the still young Rossini videography and the very rare productions in this genre.