Ilgi

Ilgi might not have huge international fame - at least not yet - by they're certainly one of the biggest names in the Baltic, banner carriers for the Latvian sound. The five-piece group, who last year issued Seju Veju, has undergone many changes in the two decades since their start as part of the folk resurgence in Latvia at the beginning of the ‘80s. But it hasn't been always been easy: even their birth was difficult under Soviet rule.

"The system during the Soviet era for bands or ensembles was such that each musical collective that hoped to perform in public had to be "attached " to one of the regional cultural organizations or societies, as were Ilgi," recalled bassist Gatis Gaujenieks."Independent music groups were not allowed. All performances had to be approved by the government department of culture. Musical collectives would submit music and lyrics for approval, and the performances themselves-costumes, hairstyles also had to be OK'd before any public performances. Anything deemed too nationalistic or extravagant was vetoed. Even the names for these musical collectives had to be approved."

"We started experimenting with the music, inserting different musical themes."

And Ilgi, which translates as spirits of the dear departed, was seen as unfitting for a group containing young girls. It was a common problem at the time, Gaujenieks, explained, "because of the fact that they explored their national heritage. At the time the folklore movement was more of a political statement than a musical trend. Singing and playing was inevitably linked to Latvian history, archeology, ethnography, mythology and traditions and the nascent independence movement. Since all of these subjects were, if not banned outright, at least partly forbidden and not a topic for discussion under the Soviet occupation and communist regime, song and dance became an intricate part of the preservation of Latvian culture. As a result folk ensembles became de facto centers of national and cultural studies. References to "pagan" Gods that appear in many a folksong, were also causes of concern to Soviet censorship. It was forbidden to mention any folklore ensemble in any of the medias. Apartments of the leaders of folklore groups were searched for any books of a nationalistic nature."

Band memeber Maris Muktupavels remembered being asked to go the local KGB precinct in Riga for "friendly conversations" where he had to explain where he found the reference materials for their songs. And harrassment at work was common. Muktupavels's brother Valdis, an expert on Latvian folklore, set up a folklore division in the Latvian Conservatory of Music; it didn't last long. Violinist Ilga Reizniece had a degree in music that protected her, and Ilgi, from being classed as nonprofessional musicians, and thus banned.

Reizniece, one of the band's founders, was also the driving force behind the group's research into Latvian mythology and traditions, according to Gaujenieks. She "knew a few people who were involved with Latvian folk music. These people were deemed as social misfits. She often arranged interviews with older people who remembered and knew many of the specific regional songs and melodies, and explored reference materials to get more of an insight on the matter. Many of the ancient folksongs sing of these "pagan" Gods and their actions, so becoming more familiar with Latvian folk music also made her more familiar with Latvian mythology and traditions. At that time in Latvia, the folk music that was "allowable" was very up-tempo and cheery; sort of the sugar coated version. The more somber and sincere music was very much frowned upon, and these sincere folk melodies were the ones that appealed the most to Ilga."

With the fall of Communism, things have opened up a great deal, and Ilgi now tour internationally, not just around the Baltic, but throughout Europe, the U.S., and even Canada. Their most recent show at home, in the Latvian capital of Riga, pulled one of the largest audiences in the city's history. They've won the Latvian equivalent of Grammys, and been widely feted. But have they helped bring awareness of the folk tradition to a new generation?

"Our last two albums, Saules Meita and Seju Veju, did increase interest among students and the younger generation. In a recent magazine interview, one of the most knowledgeable music ethnologists in Latvia, Martins Boiko, stated that amongst his students at the University of Latvia, Ilgi is by far, the most widely liked folklore ensemble. While the post-Soviet era, where the "kid in the candy store " syndrome (where everything from the west is the best, ranging from clothes, electronics, music, etc.), has calmed down a bit, the acceptance of youth to explore their heritage musically is pretty slow. I myself own and operate a recording studio in Riga, and help to produce many an album with new bands. I'd have to say that around 90% of the music recorded and performed, is some derivation of western rock, jazz, contemporary classical, and dance."

Not that it's a lost cause, by any means. The band continues to try and educate, touring schools and teaching students about their heritage. Reizniece teaches music, and passes on her knowledge of folk music at fiddle clinics and summer seminars, where she teaches Latvian folklore and traditions. Percussionist Mikus Cavarts has also taught at childrens' music camps, showing the kids the various Latvian percussion instruments - and how to make their own.

While the young Latvian folk scene isn't flourishing yet, Gaujenieks, said, "there are a few new folk music ensembles, mostly traditional, often charting the same roads that IlgI charted years ago. Hopefully, after exploring what the rest of the world has to offer (after all, Latvia was a closed country for 50 years, and it's only been 10 years since the wall fell) the younger generation of musicians will tap into their own musical heritage."

"Eventually we started to compose our own music, based on the old, utilizing ancient Latvian texts. Ilgi was the first to coin the phrase "Post Folklore"."

Obviously, over the course of 20 years, Ilgi's music has changed, and developed. While they began as a traditional folk ensemble, sticking to traditional music "we started experimenting with the music, inserting different musical themes," said Gaujenieks. "Eventually we started to compose our own music, based on the old, utilizing ancient Latvian texts. Ilgi was the first to coin the phrase "Post Folklore". The music was very meditative, but then Maris was asked to join a newly formed rock group called Jauns Meness (New Moon). They wanted to use Latvian folk instruments in their concerts-soon Ilga was asked to join as well."

The biggest change occurred when "Latvia regained its independence and suddenly tons of information on music throughout the world began pouring in. Interests in Celtic music began to flower-World Music was accepted throughout the world. Members of Ilgi came and went, these new members obviously changed the sound of the band and brought their musical influences with them. Independence also brought Latvian nationals throughout the world to Latvia, and a few of them even joined the group I was a member of one of the premiere Latvian rock groups in the US. My cultural heritage was firmly ingrained in me and I decided to move to Latvia-50 years to the day after my mother left during World War 2. I had a brief stint in Jauns Meness and got to know Ilga and Maris better. I decided to leave the band for many reasons, but remained good friends with them.

When Zane Smitt, one of the singers of Ilgi left, I suggested Ilga try out Mara Kalnina, who was involved with another Latvian ensemble –Marana. Marana was not at all a folk music ensemble, they were sort of a cross between Penguin Café and Manhattan Transfer. They were not performing actively and Mara was looking for a musical outlet. She had never sung in a folk music ensemble, but had such a free approach to music that it did not scare her off. Things worked out well, so when Ilgi was ready to record Saules Meita, they turned to me. I suggested that we experiment with drum loops on the album, as well as to put down bass (my instrument) on a few tracks. From that point on I was so pleased to be involved in an original, truly Latvian project, that I became a member of Ilgi. To perform these songs in concert we had to invite a drummer into the fold. This changed the sound again. And when an opening for a guitar player arose, I asked my old friend and musical colleague from the US, Arnolds Karklis to join, who had also moved to Latvia. All these changes have moved Ilgi from a meditative acoustic music ensemble to the livelier world music group it is today," as can be heard on "Tumsa Tumsa Kas Par Tumsu." Mara Kalnina, sadly, died in an auto accident in 1999.

2001 sees the band celebrate its 20th anniversary, holding a special concert with former members taking the stage, the whole event being taped for video. Then it's off to Sweden, austria, Norway, Holland, and the U.S., followed by a trip to China. And, Gaujenieks, concludes, "we've been commissioned to write the music for a play based on one of Latvia's most revered authors, Janis Rainis. The play is a representation of how Latvia has survived through various occupations and wars. Due to the dynamics of the action, we have to prepare a very wide palette of sonic accompaniment. This will involve the use of samplers, synths, electric guitars, orchestral accompaniments, etc. This in no doubt will again broaden our musical horizons."

Ilgi

"We started experimenting with the music, inserting different musical themes."

"Eventually we started to compose our own music, based on the old, utilizing ancient Latvian texts. Ilgi was the first to coin the phrase "Post Folklore"."

Related Articles in the 'European Artists' Category...