Latvian Music Icon Emil Darzins Honored in Concert

RIGA, Latvia — The State Academic Choir Latvia and conductor Maris Sirmais invite music enthusiasts to a special concert honoring the 150th anniversary of the Latvian music classic Emil Darzins. The event, titled I Know How the Rose Thrives, will take place at the Riga Latvian Society House on February 21, 2019.

The concert will feature all 17 of Darzins’ choruses, interspersed with jazz fantasies based on his solo songs, performed by the jazz quartet featuring Edgar Cīrulis, Kristine Cirule, Kaspar Kurdek, and Stanislav Judina. The program will also include readings by actors who have portrayed Emil Darzins in various productions: Ģirts Kester, Arthur Skrastiņš, and Mārtiņš Meiers.

“I see, I love all that simply; I love the people, the people who attend the concerts are driven by the true internal needs,” said Emil Darzins, who has also received the people’s anti-love.

The concert aims to celebrate Darzins’ enduring legacy and his unique contributions to Latvian music. Darzins’ music has been a staple at the Latvian Song Festival, a tradition that dates back to 1873 and is considered one of the largest choral events in the world. The festival, which takes place every five years, brings together thousands of singers and musicians from across the country, much like the National Memorial Day Concert in Washington D.C., which honors the nation’s military heroes.

Maris Sirmais, the conductor of the State Academic Choir Latvia, shared insights into the significance of Darzins’ music and the preparations for the concert. “Not so much. At that time we had Latvian music programs. The young people, of course, were more interested in everything we brought out of the world’s music. Some of the collective had a whole snobby attitude. We sang, for example, John Tavener’s music, which had not been sung at all in Latvia. We opened the door to the world, we came to various music materials, but I thought – who else would sing Latvian music? And if young people could sing it with the same sincerity … It would be such an extremely valuable thing for the middle and older generation of the audience waiting for it, and possibly open a new door to Latvian classics for young people.”

Sirmais also highlighted the meticulous research and preparation that went into the concert, including the collaboration with Daci Dreiman, a librarian at the Museum of Literature and Music. “Daci Dreiman, who has a long-time librarian in the country and works in the Archive of the Museum of Literature and Music, I had a fantastic opportunity to go beyond the well-known. She did a lot of work and collected all possible materials together. Working in the National Academic Choir, we very often had questions about the right words, and each political situation had made its own adjustments. In this folder, all the material was collected from the archives to solve these issues – how the text really has to sound. Publishing house Baltic music In 2023, the book was published with all of these almost scientific adjustments.”

The concert will also feature the only known manuscript of Darzins’ handwritten song Moon Rays in the String. This unique piece, originally written in D major, was later published in C major, raising questions about the composer’s intentions. Sirmais noted, “It’s unique. Interestingly, we only know this in the Major. In the only copy of the handwriting, we see that he has written half a half – in the Re Bemol Major. No one can answer this question. Interestingly, when Garden was still alive, this song was published in Re Mazor. Most likely, it could not be without the approval of a garden. We also tried the choir with the Re Bemol Major, and the song immediately sounded in a completely different way. It seemed to have gone into its right direction. However, we recorded in the album, however, because I realized that I had no right to ignore the approval of Dārziņš.”

Sirmais also revealed the discovery of a previously unknown song by Darzins, a cradle song for the female choir. “Yes, it was a cradle song for the female choir. It seems to me, at the end of the Soviet era, a teacher was found. We only knew in the past Mermaid songs. Garden has eight men’s choir songs, seven mixed choir songs and two women’s choir songs. 10 years ago I had a revelation that no one had recorded it all, there was no garden music album. It seemed to me a colossal work and an obligation that just needs to be done. The privilege of our country’s choir is that our composition is not as limited as the chamber choir or the radio choir and we can fully record the songs of the men’s choir – taking into account the real situation in the men’s choirs in Latvia.”

The concert will also feature readings from Darzins’ letters, performed by actors who have portrayed him in various productions. Sirmais explained, “It is a pure thing where you can see what Dārziņš has thought as a personality. Mārtiņš Meiers, who is not only a wonderful actor, but also a screenwriter, is helped by us, and we are convinced of many theater prize ceremonies. It is always witty, creative and interesting.”

For Sirmais, Darzins’ music holds a special place in Latvian culture. “I think it is not only in my head that Dārziņš’s music is very much associated with Latvianness. As a child, I practically had nothing to do with his music. Of course I knew Melancholic waltz. Once upon a time when I went to my parents to the choir, I had heard that they were singing Broken pines, in the distance of dreams or Moon rays in the string. These are unconscious associations that have come into my ears. For my soul, of course, the closest is all the romantic, airy, elusive that comes with the texts of Aspazija. Well, Cyan There is nothing airy, everything is saturated with biblical motifs but Moon rays in the distance of string, dreams if I go to Bethlehem – All of these works are very romantic. I think a Latvian is a man for a long -standing man who is longing for something. Dreaming after something inaccessible. Most likely, Dārziņš has felt these Aspazija texts. Right next to Broke pine with a completely different energy and determination. Also the patriotic harvesting in the songs of the men’s choir – At the Father’s Earth’s Dear etc. Forever blue, What comes again with a stingy pain, long and three. The garden is very different.”

Sirmais also discussed the political and cultural significance of Darzins’ music, particularly the song Broke Pine, which was used as a revolutionary anthem during Soviet times. “Thanks for this issue. It all started with the show Melancholic waltz. In this show, Darzins was sung in a variety of ways. Some songs were heard without any intervention and arrangements. One of them was Broken pines. The performances went to nonstop and I don’t remember any time when you sing Broken pines, There would be no major ovation in the hall. When I was an artistic director in 2008, creating a closing concert of the Song Festival, I realized that I have no right to put the views on the big songs, which are the Song Festival crowns – symbols without which it is difficult to imagine our big Song Festival. These big songs including Broke pineat the dose of the survey, to be honestly written down which conductors for each song they would like to do in Mežaparks Stage. I really took into account how Latvian conductors believe it would be. For two songs, the entire audience of Latvian conductors was unanimous. Light Castle Wanted to conduct Imants Kokars and I am a big surprise to almost 99 percent at the song Broke pine had written my name!”

Sirmais also reflected on the dual nature of Latvian self-esteem and its implications for the country’s future. “I think that bodied back has no fault. Looking at our personalities, which I do not even know, but there is an idea of ​​interviews and photos – the biggest star of our lately, Gints Zilbalodis. He is so directed in interviews, without any greatness, he has proven himself with his talent, ability and perseverance. We have vivid examples of how many such people have achieved something worldwide. At the moment, I probably feel a lot of change, like us all. What is happening right now is something very unpredictable, a bit even threatening. This background does not give a big perspective. On the one hand, there is much more beautiful and good, even though our disconnection from Russia and Belarus’s resources as a last independence testimony, but is also a certain doom. We see how much something in old Europe is arranged, but much has been stolen and overgrown with comfort cushion. It’s all so heavy and cumbersome. Perhaps such events are inevitable, because the energy that comes, shakes it and makes Europe wakes up, aware and to some extent to rearrange it.”

As the concert approaches, the anticipation for this tribute to Emil Darzins grows. The event promises to be a celebration of Latvian culture, music, and history, offering a unique experience for both local and international audiences. For those interested in attending, tickets are available through the Riga Latvian Society House. The concert will also be streamed online for those who cannot attend in person.