Kokle is a Latvian stringed folk musical instrument. Latvia

“The music of Latvia was strongly influenced by German culture for many years, and only at the end of the 19th century did a national school begin to form. At the same time, the country’s folk music traditions have a long history and rich heritage.

The earliest known information about Latvian music dates back to the Neolithic period: archaeologists discovered instruments of the flute type. By the end of the first millennium, the peoples inhabiting the territory of modern Latvia created many instruments, such as the kokle (a plucked string instrument of the zither type), whose design has survived to this day.

By the time the territory of modern Latvia was conquered by the crusaders (XIII century), the musical culture of this region was predominantly folk" (Wikipedia).

Kokle (kokle) is the oldest musical instrument of the Baltic states, the national musical symbol of the Latvian people.

Latvian kokle

Many other folk musical instruments are also used:

Dudas (dūdas) - bagpipes

Tridexnis (trideksnis) - metal rod with metal objects

Stabule - wooden whistle flute

Ganurags (ganurags) - wind reed wooden instrument

Diga - stringed instrument

Daina (dayna) or tautas dziesma (folk song) is a traditional form of music or poetry in Latvia.
These songs are over a thousand years old.

Dieviņš bija, Dievs palika
Sarkandaiļa rose auga
Es izjāju prūšu zemi
Divi dienas mežā gāju
Rikšiem bērīti es palaidu
Teku, teku pa celiņu (latviešu Līgo tautasdziesma)
Miega dziesma

Latvian folk dances:

Neretas jauniešu DK - ""Lullas deja""
Govju Kazaks - Latvian Dance
TDA Lielupe - Klabdancis
TDK Liedags- Kreicburgas polka
Jelgavas polka
TDK Liedags - Iebrauca saulite
Dandariem 30 - Skalu deja (6)

Latvian folklore groups:

Čukai ņukai - Latvian folk song - Ceiruleits

Folksong / Tautasdziesma (Gaismeņa Ausa)

Ligo- national holiday of the summer solstice (on the night of June 24). On this day the Church celebrates the birth of the Prophet, Forerunner and Baptist of the Lord John. The pagan holiday was accompanied by the gathering of medicinal herbs and flowers, rituals with fire and water, songs, games, round dances and fortune telling. Now this pagan holiday is being revived.

“Grass Day was the most beautiful holiday. They decorated buildings and domestic animals with flowers and greenery, they also dressed up. Bonfires were burned on the hills at night - a symbol of the victory of the sun. The sun was also symbolized by round golden heads of cheese - an invariable treat on Ligo day. Around the fires they sang and They danced. They had a magical meaning - they were supposed to promote the fertility of the fields and domestic animals. On the day of Ligo, Janis was especially honored - the deity of fertility. This deity was known to almost all agricultural peoples of Europe. The god Janus determined the change of seasons. called Ligo Day because on this day people sang songs that had the refrain “ligo” (ligoties - to sway), as if turning to the sun so that it would rise above the fields. The ritual treat is Jan's cheese and barley beer. Ligo is mainly expressed in collecting herbs and flowers; on this day, wreaths are made from oak leaves and flowers, courtyards, buildings and domestic animals are decorated with wild flowers and plants, bonfires are lit in the evening and special “ligo” songs are sung.

Latvian Song Festival - "Līgo!"

And this playlist contains music for the request “folk zemgale” (Zemgale is one of the historical regions of Latvia).

Latvian traditional folk dance: Zemgale & Kreicburgas polka

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Latvian musical instruments include many instruments, but the main one is the kokle. Moreover, it is the oldest musical instrument in the Baltics. And besides, it is the national musical symbol of the Latvian people. The canons of Latvian culture include the kokle as a musical instrument and the basics of playing the kokle.

Types of cocle

The oldest of all kokles is still preserved in the Latvian museum and it dates back to 1710. The above-mentioned kokle was found in the vicinity of Durbe, in Liepaja County. According to their appearance, kokles come from the western part of the country and from the eastern part. Accordingly this is:

1. Kurzeme type
2. Latgalian type.

Those of the oldest Kurzeme kokles that have survived to this day resemble a boat in their appearance and shape. And the upper part of the musical instrument is decorated with ornaments.

Such ancient kokles have only 5 strings, which in ancient times were made using household intestines. But such samples have not reached us. Only kokles with metal strings have survived.

As for the Latgalian kokles, they are large in size, their shape resembles a trapezoid, and the bottom plate is straight.

Kokle as a symbol of the Latvian people

Latvian musical instruments carry the rich history of this people.

For example, a valuable relic has been preserved in the museum. This is a kokle with 10 strings, Latgalian type. It was discovered in the Dauvgalpilli volost, Preili district. This kokle dates back to the 19th century.

In the museum, this kokle is the only specimen with a carved wooden sculpture in the form of a woman’s head. The body is carved from elm, and the sculpture itself is from linden. The extension of the sound board ends in a wave-like outline, reminiscent of the bottom edge of a lady's garment. And on top there is a five-pointed star and 2 flowers cut out.

Kokle is a kind of reminder of traditional Latgale wood carving, which decorated not only sculptures, but also buildings and even crucifixes. The image of a kokle is associated with a sacred statue, reveals folk customs and traditions and demonstrates the originality of this region.

The musical instruments of Latvia are, first of all, the kokle. This instrument is a frequent guest in epics, fairy tales and legends. The Latashi people honor this instrument and speak very highly of it. In Latvian legends, those people who play the kokla embody spiritual power.

And the kokle, which dates back to 1710, also carries its own legend. In winter, plague reigned in Kurzeme and only 2 children remained alive in the Durbes parish. And the eldest of the surviving children sat the youngest on the kokla, like on a sleigh, and drove him through the snow towards the neighbor’s house. This case shows how the folk instrument kokle saved the precious lives of 2 children.

Kokle, which is in the museum’s collection, was received as a gift from the Riga Latvian community at the very end of the 19th century.

Video: Playing the kokle

The oldest data about Latvians. adv. music dates back to the 11th-12th centuries. (archaeological excavations). Latvian was first published in 1632. adv. melody with text (in the book Frid. Menii, Syntagma de origine livonorum, Dorpati). However, systematically collecting and studying Latvian. adv. music began only in the 70s. 19th century and especially in the 20th century. Latvian. adv. song genres include a wide range of work songs (shepherds', plowmen's, haymaking, reaping, when working on flax, pounding, threshing, grinding, fishing, gathering, etc.), calendar ritual (winter carols, kekatas, budels, spring rotashanas with chorus “rota!”, the most popular Kupala ligos or “Janis songs” with the refrain “ligo!”), family rituals (baptism, wedding, funeral), lyrical and comic everyday ones (children’s, youth, orphans’, soldiers’, etc.), round dances , dance.

Latvian shepherd's song.

Kupala song (ligo-song).

Ancient Latvian. adv. the song is short, its text is usually a quatrain. Metric. the structure of the texts (dain) is trochaic and dactyl (due to the peculiarities of the Latvian language, where the emphasis is on the first syllable). Melodica nar. songs have basically two styles: recitative in ancient rituals, etc., and “chanting” in lyrical ones. Ancient songs are distinguished by their narrow melodiousness. range and bourdon polyphony. There are (especially in the eastern regions of Latvia) two- and three-voices. For Latvians. adv. songs are typically 2-, 3-, 4-, 5-, 7-beat metrics, a variety of regular or free mixed meters. The melody of the songs is based on Aeolian, Mixolydian, Phrygian, Dorian, major, and alternating modes. Among the people music instruments: kokle (plucked string); violin, diga (bowed); wind instruments - shepherd's stabule (pipe), shepherd's trumpets made of birch bark or alder bark, azhurags (goat's horn), dudas or somu dudas (bagpipes), tridexnis (strumming percussion), etc. Popular. dances: yandals, sudmalinas, rutsavietis, dijdancis, achkups, mugurdantsis, krusta dancis, etc.

Starting from the 13th century, after the German invasion. Crusaders, the Catholic Church has been developing in Latvia, and since the period of the Reformation (16th century) - the Protestant Church. music, which, however, did not have a great influence on the further development of Latvian. music culture. From the 14th century In Riga there was a workshop of city musicians, where only Germans were allowed. musicians. In 1587 the first printed edition of sheet music with texts in Latvian was published. language - “Non-German Psalms and Spiritual Hymns” (“Undeudsche Psalmen und geistliche Lieder oder Gesaenge”). During the period of feudalism, prof. the music was concentrated ch. arr. in the German environment nobility and burghers in cities and noble estates. At 17 - beginning. 18th centuries in the capital of the Duchy of Courland, Jelgava, there was a pridv. orchestra, occasional opera and ballet performances were staged, military and church churches gained popularity. music. Here they served as bandmasters of the Pridiv. chapels in Germany violinist and computer I. Fischer (1690-96), violinist and compositor. F. A. Feuchtner (1766-90), one of the founders of German. singspiel comp. I. A. Hiller (1782-85). In the 18th century music is developing. life in Riga, especially organ art, an outstanding representative of which was J. Mutel, a student of J. S. Bach, organist of the Peter Church in Riga (1767-88). In the churches of Latvia during the 17th-19th centuries. many organs were built. From the end 17th century in Riga there was an amateur society Collegium musicum, from 1760 - Riga Music. society that organized subscription symphonies. concerts. In 1782 a permanent German was opened. t-r, who gave opera and drama. performances. R. Wagner (1837-39), G. Dorn (1832-34, 1839-43), B. Walter (1898-1900), F. Busch (1909-11) and others worked as conductors in this theater. . 18th century There were constant tours of outstanding performers in Riga.

Latvian height. prof. music began with ser. 19th century Close ties were established with the Russians. music culture, under the influence of the Young Latvian movement, Latvians began to organize. singing societies, the foundations were laid for the broad development of choral culture. Since 1873, all-Latvian chants have been held regularly. holidays (1st-5th; 1873, 1880, 1888, 1895, 1910). In this regard, one of the leading genres is Latvian. prof. music became a choir. song, especially developed in the 2nd half. 19th century (J. Cimze, K. Baumanis, E. Wigner, etc.). A major role in the development of prof. Latvian. music was played by the conservatories of St. Petersburg and Moscow, where many Latvians studied. composers and performers. A. Jurjan was the founder of Latvian. cantatas and symphonies music, as well as Latvian. music folkloristics. Means. Latvian contribution to all areas. music (choral and solo song, cantata, symphony, chamber-instrumental music, arrangements of folk songs, etc.) contributed by J. Vitol. Mn. composers were his students in St. Petersburg and Riga. At the turn of the 19th-20th centuries. a school of organists-performers was created, the most prominent representatives of the class being O. Shepskis, A. Ore, L. Betin, A. Jurjan, J. Sermukslis, P. Iozuus, Alfred Kalnin and others.

New trends have been introduced into Latvian. music rsvolyuts. movement 1905-07. Along with the songs of the international Latvians also became widespread among the proletariat. revolutionary songs. By the first years of the 20th century. dates back to the beginning of the activities of composers E. Darzin, E. Melngailis, Alfred Kalnin, J. Zalitis, A. Abele, Jazep and Jānis Medinė and other creators of choral and solo songs (in particular, the successor of J. Rainis), symphony. and chamber-instrument. prod., national operas. The emergence of prof. dates back to the same time. Latvian. music criticism in journalism speeches by A. Jurjan, J. Vitol, E. Darzin, E. Melngailis, N. Alunan, J. Zalitis and others.

Since the 80s. 19th century Latvian on the stages. dram t-rov in Riga, singspiels, operettas and operas in Latvian appeared. language In dram. t-rah the first galaxy of Latvians was formed. opera artists, including R. Berzin, A. Kaktin, M. Brechmane-Stengele and others. Since the 80s. In Riga there were constant long-term tours of Russians. opera troupes. In 1913 the Latvian Opera was founded (in 1915, during the war, it was temporarily not working).

After Oct. revolution of 1917 and the establishment of the Soviet Union. authorities in Latvia (1917-19) are formed symphony. Latvian orchestras. rifle units that gave concerts in Riga, Petrograd, Moscow and other cities (conductors T. Reiter, J. Reinhold); The Latvian Opera, transformed into a state opera, began to work on a new basis. t-r "Opera of Soviet Latvia" (1919). During 1919 the orchestra constantly performed with symphonies. concerts. The first Latvians are created. classic operas - the duology "Fire and Night" by Jānis Mediņa (based on the drama by J. Rainis, 1913-19), "Banyuta" by Alfred Kalniņa (1918-19). In 1917, Alfred Kalnin's cantata "Judgment Day" appeared, inspired by the revolution. events.

In the 20-30s. in bourgeois Latvian development Latvian. music culture took place in conditions of acute class struggle. At the same time, in the creativity of large Latvians. Composers J. Vitola, E. Melngailis, Alfred Kalniņa, A. Abele, J. Zalitis, Janis and Jazeps Medinej continued to develop realism. and democratic Latvian traditions. music. In 1923 the Association of Latvian Composers (Latvijas skanrazu kora) was created. Of great importance in the development of music. Latvian had professionalism. Conservatory (founded 1919), headed by J. Vitol. In the 20-30s. creativity begins. activities of B. Graubin, P. Licite, L. Garuta, J. Kalnin, V. Darzin, J. Kepitis, A. Zilinsky, P. Barison, M. Zarin, J. Ivanov, A. Skulte and other composers of the school of J .Vitola. The tradition of singing continues. holidays (6-9th; 1926, 1931, 1933, 1938), which stimulated the further development of the choir. songs. In the genre of choir. processing Latvian. adv. songs, the original style of E. Melngailis was formed, which was continued by B. Graubin, Alfred Kalnin and others. The solo song developed intensively in the work of Alfred Kalnin, Jānis Medin and others. On the operatic work of Jānis Medin ("Gods and Men", 1922; "Spriditis", 1927), Jazepa Medina ("Vaidelote", 1927), J. Kalniņa ("The Wonderful Bird of Lolita", 1934; "Hamlet", 1936; "On Fire", 1937) were strongly influenced by advanced Latvian music. and world drama. In the 30s national was created ballet. Among the first productions. This genre includes “Victory of Love” by Jānis Mediņa (1935), the one-act “Nightingale and the Rose” and “Autumn” by J. Kalnin (1938), etc. Symphony genres. music was developed in the works of J. Vitol, Janis Medin, Jazep Medin (2nd symphony, 1937), A. Abele, J. Kalnin, V. Darzin, P. Barison, J. Ivanov, A. Skulte and others. Center . place in music The life of Riga was occupied by the Latvian National Opera, in which the largest performers of the country and foreign worked. artists. In 1926 the symphony was founded. Riga Radio Orchestra.

A qualitatively new stage in the development of Latvians. music culture began in 1940, with the restoration of the Soviet Union. authorities in Latvia. Music was organized on a new basis. life, Latvian was formed in 1941. Philharmonic. The music is installed. connections with other owls. republics. The most significant production Latvian. owls music were the ballet "Staburadze" by Alfred Kalnin (post. 1943) and the 4th symphony - "Atlantis" by Ivanov (1941). Preparations have been made for the Latvian Decade. literature and art in Moscow.

The years of German fascist invasion and occupation took a heavy toll on the muses. life of Latvia. Concentrations were destroyed. halls, some Latvian. the musicians were taken by the occupiers to Germany or died. State was created in Ivanovo. arts ensemble of the Latvian SSR (1942), which brought together outstanding Latvians. singers - R. Berzin, E. Pakul, V. Krampe, A. Dashkov, pianist G. Brown and others. The ensemble choir, led by the comp. J. Ozolinem, was later reorganized into the State. Latvian choir SSR (since 1956 - academic). In 1943, at the Latvian, Sov. music in Moscow, a one-act Latvian was staged. opera on owls theme of "Rue" by Grunfeld. Mass songs are being created (J. Ozolin, A. Lepin, etc.).

After the end of the Great Patriotic War. wars of 1941-45, singers become truly national. holidays (1948, 1950, 1955, 1960, 1965, 1970, 1973; since 1960 - Song and Dance Celebrations). Since 1960, Song and Dance Festivals for school youth have also been held. Nar. chorus culture reaches a high level. In 1960, the honorary title “folk” was established for the best artistic choirs. amateur performances. This title was received by the women's choir "Dzintars", men's choirs - "Dziedonis", "Tevzeme", mixed choirs - Choir of the House of Culture of Trade Unions in Riga, students. choir "Juventus", "Daile", "Ave sol" and others, amateurs. dance bands and brass bands. New professors are being created. music organizations and groups, new concentrations are opening in Riga and other centers. halls (among them - Domsky in Riga, summer concert hall in Dzintari).

Composer's creativity is developing in a variety of ways. Alfred Kalnins writes the suite "10 Latvian folk songs", 1950; Overture, 1949, and other symphonies. production; choirs to owl texts. poets, adaptations of folklore Rutsava's melodies, Variations for organ on a theme by J. Vital, 1949, etc.; Jazep Medin - choirs and solo songs, the opera "Zemdegi" (finished by M. Zarin, 1960), etc. E. Melngailis publishes "Materials of Latvian musical folklore" (vol. 1-3, 1951-53). Many are created. prod. Ekaba Medina (instrumental concerts, choirs, chamber works), P. Licite, E. Graubina. The leading genre in the 50-60s. becomes symphonic music. Its largest representative is Y. Ivanov. In his symphonies (5th-15th, including program ones - 6th “Latgale”, 1949; 13th Symphonia Humana, 1969, dedicated to V.I. Lenin), symphony. In poems and concerts, the composer addresses major themes of our time. In the works of another major Latvian. symphonist - A. Skulte (5 symphonies - 1954, 1959, 1963, 1965,1975; "Choreographic Poem", 1957; 2 suites - 1947 and 1949) is characterized by a tendency towards colorful orchestra. sound recording. His monumental 2nd symphony with choir "Ave sol!" (1959) - one of the means. transformation of images of J. Rainis's poetry into Latvian. music. In the symphony Also working in genres are J. Kepitis (Latvian folk dances, concerto for cello and orchestra), Jēkabs Medin (instrumental concertos with orchestra, including concerto for organ, 1954), L. Garuta (concerto for piano and orchestra). orchestra, 1951). The symphonic traditions of J. Ivanov and A. Skulte were continued in the works of V. Kaminsky ("The Story of Our Contemporary", 1960), A. Greenup (8 symphonies), G. Raman (4 symphonies, symphonic poem "Monument", 1959 ), P. Ope, Aldonis Kalnin, R. Kalson (3 symphonies, symphonic poem "Before Leaving", 1968), R. Ermak and others.

50-60s in Latvian The symphony is marked by active creativity. searches for new images and means of expression (symphonies by Y. Ivanov, R. Grinblat, R. Kalson, A. Grinup, later - Imants Kalnin, etc.). Restoration of the organ of the Domsky Concentration. hall in con. 60s generated great interest in this instrument. Prod. for organ with chamber orchestra and others. instruments were created by M. Zarin, R. Ermak and others. Chamber instruments are developing in a variety of ways. music. String quartets were written by J. Ivanov, E. Melngailis, Ekab Medin, J. Licitis, P. Dambis, O. Barskov, Aldonis Kalnin and others; fp. quintets - E. Graubin, P. Licite, R. Grinblat; fp. trio - J. Kepitis, L. Garuta; ensembles for various instruments - R. Kalson, O. Gravitis, R. Ermak, J. Kepitis, J. Lipshan and others, incl. for wind instruments - E. Goldstein, O. Barskov, G. Raman, etc. Many products have been created. for fp. (Ya. Ivanov, V. Utkin, A. Zhilinsky, P. Dambis, A. Skulte, L. Garuta, R. Ermak, etc.). Choir traditions cultures determined the fruitful development of various vok., incl. voc.-instrument genres. K chorus Almost all composers of the older generation turned to music - E. Melngailis, Alfred Kalnin, Jazep Medin, Jekab Medin, J. Ozolin, E. Graubin, P. Licite, P. Barison, etc. It was enriched with new achievements in the work of M. Zarin. Major masters of the choir. songs were Aldonis Kalnin, V. Kaminsky, P. Dambis. Row choir. songs were created by Y. Ivanov, A. Skulte, L. Garuta, A. Zhilinsky, E. Goldstein and others. This means. development in the 50s and 60s. received an oratorio reflecting current topics of our time. An outstanding contribution to this genre was made by M. Zarin ("Heroes of Valmiera", 1950; "Fight against the Devil's Swamp", 1951; "Mahogany", 1964). The oratorios were created by V. Kaminsky ("About those on the way", 1962), L. Garuta ("Living Flame", 1966), Imants Kalnin ("October Oratorio", 1967), J. Licitis ("You are returning", 1967), P. Dambis ("Blue Planet", 1967; Requiem Concert, 1967), Aldonis Kalnin ("Songs of Warriors", 1974). Many composers work in the cantata genre (A. Skulte, N. Grunfeld, L. Garuta, Jekab Medin, O. Gravitis, A. Zhilinsky, J. Licitis, etc.), create various. voc.-symphony prod. (cycle “Dunno in the Sunny City” by Zarin; “Heroes Live” by Kaminsky, 1964; “Land of Heroes” by Aldonis Kalnin, 1961; “Two Obelisks” by Imant Kalnin, etc.). Many solo song cycles have been written ("Silver Light", "Partita in the Baroque Style", "Carmina antica" by Zarina; "Military Mug" by Licite, "Golden Hoop", "The Wind Sings in the Willows of the Lake" by Zhilinsky, "Moon Girl" by Gravitis, “Solstice of the Heart” by Aldonis Kalnin, “Women’s Songs” by Dambis, etc. ). In the field of lyrical The solo song was contributed by A. Zhilinsky, J. Kepitis, J. Ozolin. R. Kalson (on texts of foreign poets, etc.), P. Plakidis.

Means. prod. appear in the operatic genre. Many of them were written in modern language. household or historical stories. A number of them embodied images of Latvians. owls and classic liters. The operas were created by M. Zarin ("To the New Shore", post. 1955; comic opera "The Green Mill", post. 1958; "Beggar's story", post. 1965; "The Miracle of St. Maurice", 1964, post. 1974 ), F. Thomson ("Blow, Breeze", post. 1960), A. Zhilinsky ("Golden Horse", post. 1965), O. Gravitis ("Audrini", post. 1965; "Through the Blizzards", post. 1967), A. Skulte ("Princess Gundega", post. 1971), etc. The ballet is developing intensively, the plots are becoming more diverse: legendary and historical ("Lyma" by Lepin, post. 1947; "Sakta of Freedom" by Skulte, post. 1950 , 2nd ed. post. 1955), romantic ("Rose of Turaida" by Kepitis, post. 1966), fairy-tale ("Spriditis" by Zhilinsky, post. 1968), anti-colonial struggle ("Rigonda" by Greenblatt, post. 1959; "Gold" Incas" by Barskova, post. 1969), friendship of the Latvian and Cuban peoples ("Thunderstorm in Spring" by Skulte, post. 1967). A number of one-act ballets were created by P. Ope, O. Barskov and others. In 1945, the theater was opened in Riga p operettas, on the stage of which productions are staged by A. Zhilinsky ("In the Land of Blue Lakes", 1954; "Guys from the Amber Shore", 1964, etc.), N. Zolotonos ("When Adam is on Vacation", 1958 ), E. Igenberg ("Annele", 1963), G. Ordelovsky (musical "Bather Suzanne", 1968), G. Ramana ("Bread and Salt on Potato Street", 1969), etc. In the 60s. Latvian gained great popularity. estr. music by R. Paula, P. Ope, G. Raman, Imanta Kalnin and others.

Among the representatives is Latvian. music performer cultures: conductors - people. art. Latv. SSR L. Wigner, E. Tons, people. art. RSFSR A. Jansons, hon. activities claim in Latv. SSR R. Glazup, J. Lindberg, J. Hunchen; L. Reiter, Ts. Krikis, T. Lifshitz; chorus conductors - people art. Latv. SSR R. Vanag, T. Kalnin, Ekab Medin, J. Ozolin, D. Gailis, I. Kokar, honored. activities claim in Latv. SSR V. Vikmanis, J. Dumin, P. Kvelde, G. Kokar, H. Mednis, E. Rachevsky, I. Tsepitis; singers - people art. USSR J. Heine-Wagner, people. art. Latv. SSR E. Pakul, L. Anderson-Silare, V. Krampe, A. Ludin, R. Frinberg, honorary. art. Latv. SSR L. Daine, V. Davidone, R. Zelmane, I. Tiknuse; E. Zvirgzdin, A. Pile; singers - people art. USSR A. Frinberg, people. art. Latv. SSR A. Vilumanis, P. Gravelis, A. Dashkov. K. Zarin, M. Fischer, hon. art. Latv. SSR G. Antipov, A. Vasiliev, Y. Zaber; pianists - honored art. Latv. SSR G. Braun, V. Soest, I. Graubin, V. Cirule; K. Blumenthal, V. Yantsis, N. Fedorovsky; violinists - V. Zarin, G. Kremer, J. Shvolkovsky; cellists - people. art. Latv. SSR E. Berzinsky, E. Bertovsky, honored. art. Latv. SSR M. Villerush; E. Testelets; Honored horn player art. Latv. SSR A. Klishan; organists - people art. Latv. SSR N. Vanadzin, honored. art. Latv. SSR P. Sipolniek; E. Sinitsina, O. Tsintyn, V. Vismane and others. Among musicologists - honored. activities culture of Latvia. SSR J. Vitolin, Honored. activities lawsuit in the Latvian SSR O. Gravitis, L. Krasinskaya, N. Grunfeld; M. Goldin, V. Berzin, V. Briede-Bulavinova, A. Werner, L. Karklin, A. Klotin, B. Krastin, T. Kurysheva, V. Muske, S. Stumbre and others.

In Latvia. SSR work: 2 muses. t-ra - T-r of opera and ballet Latvian. SSR (1919), Riga Theater of Operetta (with Latvian and Russian troupes, 1945), Philharmonic Society (1941), Academic. Philharmonic Choir (1942, since 1965 Honored Choir of the Latvian SSR), Radio and Television Choir named after. T. Kalniņa (1940), Symph. Radio and Television Orchestra (since 1965, Honored Ensemble of the Latvian SSR), Philharmonic Chamber Orchestra (1967), Riga Est. orchestra (1957), dance ensemble "Daile" (1968), strings. Philharmonic Quartet, Ph. Latvian trio conservatory, vocal-est. ensemble "Riga", est. Radio Ensemble (1966), etc.; Latv. Conservatory named after J. Vitola, 8 music. schools (in Riga - 2, Jelgava, Liepaja, Ventspils, Daugavpils, Cesis, Rezekne), 42 children's music. schools. Musicologist work is carried out at the departments of musicology in Latvia. Conservatory, in the Sector of Theory and History of Art (since 1968) and the Sector of Folklore of the Institute of Language and Literature named after. Andrei Upita AN Latv. USSR (founded in 1945). All Latvian archival funds are concentrated here. folklore (the sector is the successor of the Latvian Folklore Repository, founded in 1924). Music section critics CK Latv. SSR are published on Sat. articles "Latvian Music" (1st-1958, 11th-1974).

Literature: Vitolin J., Grunfeld N., Latvian SSR, M., 1954, 1957 (Musical culture of the union republics); Essays on the musical culture of Soviet Latvia, Leningrad, 1965, 1971; Vitolin J., Latvian folk song, M., 1969; Jurjans A., Latvijsu tautas muzikas materiali, t. 1-6, Riga, 1894-1926; Melngailis E., Latviesu dancis, Riga, 1949; his, Latviesu muzikas folkloras materiali, t. 1-3, Riga, 1951-53; Medins K., Latviesu dziesmu svetki, Riga, 1955; Vitolins J., Latviesu tautas muzika (public folk songs), (t. 1-4), Riga, 1958-73 (Darba dziesmas, Riga, 1958; Kazu dziesmas, Riga, 1968; Bernu dziesmu cikls. Beru dziesmas, Riga, 1971; Gadskartu ierazu dziesmas, Riga, 1973); his, Tautas dziesma latviesu muzika, Riga, 1970; Padomju Latvijas muzikas darbinieki, sastadijis O. Gravitis, Riga, 1965; Go1dins M., Latviesu tautas deju melodijas, Riga, 1967; his, Latviesu un cittautu muzikas sakari, Riga, 1972; Vitolins J., Krasinska L., Latviesu muzikas vesture I, Riga, 1972; Karklins L., Simfoniskie darbi latviesu muzika, Riga, 1973; Vidu1eja L., Latviesu padomju opera. (1940-1970), Riga, 1973.

Ya. Ya. Vitolin

Instruments of the flute type were discovered. By the end of the first millennium, the peoples inhabiting the territory of modern Latvia created many instruments, such as the kokle (a plucked string instrument of the zither type), whose design has survived to this day.

By the time the territory of modern Latvia was conquered by the crusaders (13th century), the musical culture of this region was predominantly folk. Until the 19th century, the musical culture of Latvia was based almost exclusively on German traditions. Since the 13th century, Catholic music has developed, and since the 16th century, Protestant church music has also developed. In Riga there were guilds and workshops of city musicians, consisting only of Germans. The first books of liturgical chants based on Latvian texts were published in Königsberg in 1587 and in Riga in 1615. From the 17th to the 19th centuries, the musical life of Latvia was closely connected with European culture. The Musical Society (since 1760) and the City Theater (since 1782) operated in Riga, and famous musicians such as Johann Fischer, Franz Adam Weichtner, Johann Adam Hiller worked at the court of the Duke of Kurzeme in Mitau (now Jelgava). From 1753 to 1788, Bach's student Johann Gottfried Mutel worked in Riga.

In the 18th–19th centuries, organs were installed in many Latvian churches; about 250 historical instruments have survived to this day. The organ of the Dome Cathedral in Riga, with four manuals and 125 registers, built in 1884, was the largest in Europe at the time of its opening. In Latvia, which lay on the route between the largest concert centers of Western Europe and St. Petersburg, concerts of famous organ virtuosos of that time began to take place. The cultural ties of the Latvian intelligentsia with the University of Königsberg strengthened. In 1764–1769, the German philosopher Johann Gottfried Herder (1744–1803) lived in Riga and was the first to publish Latvian folk songs in Europe. Other famous cultural figures whose biography was connected with Latvia include music publisher Johann Friedrich Hartknoch (1740–1789).

In the first half of the 19th century, John Field, Robert and Clara Schumann, Franz Liszt, Hector Berlioz, and Anton Rubinstein came to Riga to give concerts. In 1837–1839 Richard Wagner lived in the city, here he began work on the opera “Rienzi”.

The second half of the 19th century was the time of formation of the Latvian national music school. One of its first representatives were composers Kārlis Baumanis (1835–1905), author of the text and music of the Latvian anthem, and Jānis Cimze (1814–1881), who collected and processed folk music. Among the musical genres, choral singing developed most actively; in 1873, the first song festival was held, which became traditional and is held every five years.

Musical education in 19th-century Latvia was available only in seminaries and a few music schools, and to receive a more complete education, musicians went abroad or to St. Petersburg. Latvian academic music at the end of the century, as in many other Eastern European countries, was strongly influenced by folklore. Composers such as Andrejs Jurjans, Jazeps Vitols and Emilis Melngailis often used direct quotations of folk songs in their works, others (Alfred Kalnins, Emils Darzins) avoided this, but elements of folklore also occupy a significant place in their works.

The short period of the independent republic (1918–1940) was an era of rapid development of Latvian musical culture. The Latvian National Opera opens in Riga (the first Latvian opera performance - "Banyuta" by Alfred Kalnins - was staged on its stage in 1920), the Latvian Conservatory (now the Jazeps Vitols Academy of Music of Latvia, 1919), music schools, the first permanent symphony orchestra was founded ( Riga Radio Orchestra, 1926) and a number of chamber ensembles. Various directions of compositional art are represented by Jazeps Vitols, Alfred Kalnins, Jazeps Medyns (national romanticism), Janis Medins and Janis Kalnins (post-Wagnerism), Janis Knepitis and Janis Zalitis (impressionism), etc.

The main opera venue of the Latvian SSR was the State Opera and Ballet Theater. Both classical and modern operas have been staged on its stage, including the latest works by Latvian composers. At different times, the conductors in this theater were Leonids Vigners, Edgars Tons, Richards Glazups, Alexander Vilumanis, as well as foreigners - Leo Blech, Gintaras Rinkevičius and others.

Modern Latvia is a major center of European musical culture. Riga and other cities regularly host concerts of the world's largest musicians, international music competitions and festivals. The festivals in Jurmala (Dzintari) and Sigulda are especially famous.

Among the Latvian musicians who gained worldwide fame in the second half of the 20th and early 21st centuries are composers Janis Ivanov, Paul Dambis, Maja Einfelde, Artur Grinups, Imants Kalnins, Romualds Kalsons, Peteris Plakidis, Georg Pelecis, Juris Karlsons, Peteris Vasks, Raimonds Pauls, Romuald Kalsons, Imants Zemzaris, conductors Arvid Jansons and his son Maris, Andris Nelsons, singers Karlis Zarins, Janis Sprogis, Ingus Petersons, Samson Izyumov, Alexander Antonenko, singers Germaine Heine-Wagnere, Inesse Galante, Elina Garanča, Maja Kovalevska, pianists Arthur Ozoliņš, Ilze Graubina, Westards Šimkus, violinists Baiba Skride, Ieva Graubina-Bravo, Rasma Lielmane-Kortesa, Valdis Zarins and Gidon Kremer, piano duo Nora Novik and Raffi Harajanyan, horn player Arvids Klishans, cellist Eleonora Testeles, choral conductors Imants Cepitis, Imants and Guido Kokarsy, organists Talivaldis Deksnis, Iveta Apkalne.

folk music

Latvian folk musical instruments on a USSR postage stamp

Literature

• Music Encyclopedia edited by Yu. Keldysh, article “Latvian Music” (author J. Ya. Vitolin
• Sat. Music of Soviet Latvia. Riga, 1988.

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