Distant

Having spent much of his childhood in Latvia, where he also began his violin studies, Vadim Gluzman makes a return to his roots with this disc of music by Peteris Vasks. The ample programme (+ 84 minutes!) opens with the violin concerto ‘Distant Light’, which in the two decades since it was composed has become a modern classic. The composer has described it as ‘a song, coming from silence and floating away into silence, full of idealism and love, at times melancholy, at times dramatic.’ For the concerto, Gluzman found support from the strings of the Finnish Radio Symphony Orchestra under Hannu Lintu, just across the Baltic See from Latvia. For the other works on the disc he is however joined by Latvian colleagues and friends. These include the violinist Sandis Šteinbergs who appears in the duo Summer Dances, one of Vasks’ more carefree and buoyant pieces. This recent work in seven brief movements is, in the composer’s own words, the musical equivalent of a naïvist painting. In comparison, the Piano Quartet from 2001 is one of his longest and most imposing chamber works. Beginning with a perfect fifth in the piano, it takes the listener on an emotional roller-coaster, through hectic dances and dramatic songs to a typical ‘Vasks ending’ with a distant light offering a tempered hope. In the quartet, Vadim Gluzman leads an ensemble consisting of Ilze Klava, Reinis Birznieks, and Angela Yoffe.

This recording offers an overview of four of Peteris Vasks' most iconic works, from the large scale, dramatic Violin Concerto ‘Distant light’, and the magically dreamy meditation Lonely Angel, to his evocation of Latvian landscape and birdsong Plainscapes and the extatic Dona Nobis Pacem. The first piece by Peteris Vasks that the performer of this album (Daniel Rowland) heard, about a decade ago, was his magnificent Violin Concerto ‘Distant light’, already a modern classic, and Rowland was blown away by the deep emotional impact of this extraordinary music, that seemed to him both wonderfully mysterious, connected to ancient times, touched by a sublime spirituality and at the same time viscerally exciting and with moments of stunning virtuosity.

The beauty that the Latvian composer Peteris Vasks evokes in his works would not be possible without the experience of violence and cruelty in this world. He grew up in a country deprived of liberty, and because of his faith and his artistic convictions he was exposed to reprisals from Russian cultural doctrine. His father, a Baptist pastor, was regarded as an “enemy of the people”, and his homeland was under Soviet control. As a result, Vasks developed a vision of freedom and subtle protest in his music. In the so-called “singing revolution”, the countries of the Baltic region with their traditional love of choral music initiated their independence from Soviet rule. Vasks' expressive, direct and often deliberately simple music quickly became the mouthpiece of the long-suppressed Latvian people, giving the nation a proud voice that can be heard worldwide.

Does a consumer who bought a shirt made in another nation bear any moral responsibility when the women who sewed that shirt die in a factory fire or in the collapse of the building? Many have asserted, without explanation, that because markets cause harms to distant others, consumers bear moral responsibility for those harms.