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1. #A victory march exemplery orchestra of the ussr full version
2. #A victory march exemplery orchestra of the ussr professional

The most socially and culturally significant event (and, initially, also the most important event in the professional music scene) was and remains the Song Festival, during which new and existing compositions written by Latvian composers for choir and orchestra “infused” the people, and composers such as Andrejs Jurjāns, Emīls Dārziņš, Emilis Melngailis and Jāzeps Vītols in particular became myths and national relics, a status they have held right through to the present day frankly, it would be discourteous to constructively discuss their musical aesthetics in the context of the age. To describe his attitude towards contemporary “trends” as conservative would be an understatement to say the least. A major role in nurturing and maintaining this quite conservative stance was played by Jāzeps Vītols himself. Despite this, the Latvian Composers’ Group founded by Jāzeps Vītols in 1923 did not join it (the Latvian Composers’ Union only joined the Society of Contemporary Music in 2004), thus avoiding interaction with European contemporary trends during the first half of the 20th century, whose magnet was the Second Viennese School and Igor Stravinsky. The International Contemporary Music Society was founded in Salzburg in 1922, opening up various paths and opportunities to connect with the European music scene. Contacts with European musical life (by this I am referring to the realm of composition in particular interaction in concert life took place much more intensively and openly) were negligible, and it is possible that this seclusion was also secretly desired by the composers themselves. Latvian classical music was born and developed in a very narrow and confined space, acquiring direct influences almost solely from Russian composers, under whose tutelage – through studies in Moscow or Saint Petersburg – the art of composition was mastered and from whom musical aesthetics were adopted to a large extent. In contrast, the first phase of Latvian music was dominated and defined by the field of choral music with the decoration of the folk song – the basic element of musical innocence – at the centre, and this, of course, is related to the Song Festival movement. And, although among Tchaikovsky and Sibelius’s opuses quite a lot was written for a choir, they are not associated with this. More often than not, it does not feature at all. For example, choral music does not hold a significant place in the list of works composed by Grieg, Dvořák, Smetana or Mussorgsky, and even less so in the compositions of Chopin or Shimanovsky. However, the major emphasis on joint singing, otherwise known as choral music, in the history of Latvian classical music is definitely an exception to the rule. Parallel to nation building processes during the second half of the 19th century, national music schools with their typical focus on the idiosyncrasies of folk music sprouted up all over Europe.

Composers captured this mood and virtually became “the people’s voice” in the most direct sense of the term. Our first composers worked at a time when Latvians were electrified by the desire for an independent state. From the Song Festival to an open air stage songĪs we know, Latvian professional music originated and developed very late.

#A victory march exemplery orchestra of the ussr full version

You can read the full version at the UNEARTHING THE MUSIC DATABASE by clicking here. This excerpt of an article by Latvian composer and professor Ruta Paidere is republished here with the kind permission of “Mūzikas Saule” magazine.