Vasks: Viatore

Album review

The works of Latvian composer Peteris Vasks can be situated close to, if not squarely within, the tradition of "holy minimalism." His music can bear more than a passing resemblance to that of Arvo Pärt and Henryk Górecki in its essentially tonal harmonic language, frequent sense of harmonic stasis, and the aura of gentle melancholy that often suffuses it, but it is not likely to be confused with theirs because it tends to have a linearity and development that can give his work a strongly Romantic character. Vasks also uses folk-like material in a way that makes him sound like more of a nationalist than minimalists tend to. Musica adventus (1996), for string orchestra, an arrangement of his third string quartet, is in four movements, and while each is essentially contemplative, the third builds to a climax of concentrated angst not typical of Pärt or Górecki, and its fourth movement is distinctive in the accumulation of skittering string figures that conjures up a sense of chaos before resolving into a mood of quiet repose. The gestures, harmonic language, and stasis of the 2001 Viatore (Passenger), for string orchestra, make it strongly reminiscent of Pärt, to whom, in its arrangement for organ, it is dedicated. The Concerto for English horn and orchestra (1989) imaginatively exploits the instrument's haunting timbre, and its striking use of modulation and unconventional harmonic movement make it the most individualistic work on the album. The composer's masterful orchestration, which is evident in each of these works, creates an astonishing variety of timbral surprises. The expressive variety of Vasks' music makes him a composer who could appeal to audiences broader than only fans of holy minimalism, and this disc is a fine introduction to his work. The performances, by English horn player and conductor Normund Sne and Riga Sinfonietta, are subtly nuanced and deeply committed. Wergo's sound is clear and atmospheric.

© TiVo