Composer: Janis IVANOVS
Works: Orchestral Music – Vol. 6: Suite from the film music for The Late Frost in Spring, Symphony No. 8, Lacplesis – symphonic poem
Performers: Latvian National Symphony Orchestra conducted by Imants Resnis (Suite), Edgars Tons (Symphony No. 8), Vassily Sinaisky (Lacplesis)
Recording: All recordings from sound archive of Latvijas Radio, recorded: Suite (1987), Symphony No. 8 (1961), Lacplesis (1978)
Label: Campion CAMEO 2013
Janis Ivanovs, a significant figure in the Latvian symphonic landscape, offers a rich tapestry of sound in this sixth volume of orchestral works. The collection comprises the evocative Suite from the film The Late Frost in Spring, the expansive Symphony No. 8, and the heroically inflected tone poem Lacplesis. Each of these works not only reflects Ivanovs’ individual style but also encapsulates the broader historical and cultural nuances of mid-20th-century Latvian music, a time when national identity was inextricably linked to artistic expression.
The Suite from The Late Frost in Spring is particularly striking. Drawing from Ivanovs’ ‘lost’ Second Symphony, its themes resonate with a sense of familiarity and nostalgia. The suite’s nine movements, though the booklet erroneously claims ten, are imbued with a pastoral tragedy that evokes the essence of rural life, reflective of Rudolfs Blaumanis’ narrative. The chaste, lonely flute at 5:01 in track seven perfectly encapsulates the work’s emotional depth, with its melodic lines reminiscent of Rota’s Romeo and Juliet and Prokofiev’s ballet compositions. The alluring simplicity of these motifs reveals Ivanovs’ adeptness at crafting instantly attractive music that begs for greater recognition in contemporary concert repertoires.
Symphony No. 8, composed shortly after the Suite, displays a more complex architecture. The work juxtaposes two expansive Andantes with two shorter Allegros, creating an engaging contrast that invites deeper listening. The opening Andante Allegro is particularly notable for its tunefulness, echoing the lyrical nature of Ivanovs’ Violin Concerto. Yet, it is suffused with an undercurrent of pessimism that hints at existential concerns, a theme that resonates throughout the symphony. The Allegro movements, alive with energy and dynamism, evoke the spirited conflict of Prokofiev’s Montagues and Capulets, yet they maintain a light-hearted quality, offering moments of celebration amidst the turmoil. This balance of light and shadow is characteristic of Ivanovs’ approach, positioning him as a pivotal figure in the evolution of 20th-century symphonism.
Lacplesis, the symphonic poem, rounds out the collection with its narrative rooted in Latvian folklore. Ivanovs’ choice to allocate distinct themes to various characters within this heroic tale allows for a rich interweaving of musical ideas, showcasing not only his lyrical prowess but also his gift for thematic development. The commentary of musicologist Vizbulite Berzin highlights the departure from mere landscape pictorialism to a more profound exploration of freedom and struggle, a sentiment that resonates powerfully through the work’s expansive soundscapes. While echoes of Soviet-era sentiment can be detected, Ivanovs manages to transcend didacticism, crafting a work that is both emotionally resonant and artistically sophisticated.
Sound quality across the recordings is variable, yet it does not significantly detract from the listening experience. The engineering embraces a warmth that complements the lush orchestration, although one might wish for a more polished presentation of the performances, particularly in the earlier recordings. The notes accompanying the disc are thorough and bilingual, providing valuable context while allowing for minor typographical oversights.
This sixth volume of Ivanovs’ orchestral works is a vital addition to any serious exploration of 20th-century symphonic literature. The emotional depth, thematic complexity, and cultural resonance of these pieces illuminate the rich heritage of Latvian music. Collectively, they assert Ivanovs’ place within the pantheon of significant composers, ensuring that his contributions to orchestral music are neither overlooked nor forgotten. For listeners and scholars alike, this series offers an essential perspective on the evolution of symphonic expression in Latvia and beyond.
