Latvijas Radio koris: Fakti. Atmiņas. Attēli
Šis ir apjomīgs mēģinājums verbāli restaurēt Radio kora skanējumu vēsturi grāmatā. Ilze Šarkovska-Liepiņa ir apskatījusi periodu no 1940.-1962. gadam, savukārt Orests Silabriedis - no 1963.gada līdz mūsdienām. Grāmatā ir iekļauts ārkārtīgi bagāts vizuālais materiāls, nobeigumā - sarunas ar Latvijas...
Saved in:
| Main Authors: | , , |
|---|---|
| Format: | Book |
| Language: | Latvian |
| Published: |
Rīga
VSIA "Latvijas Koncerti"
2017
|
| Subjects: | |
| Online Access: | Inhaltsverzeichnis Register // Personenregister Abstract |
| Summary: | Šis ir apjomīgs mēģinājums verbāli restaurēt Radio kora skanējumu vēsturi grāmatā. Ilze Šarkovska-Liepiņa ir apskatījusi periodu no 1940.-1962. gadam, savukārt Orests Silabriedis - no 1963.gada līdz mūsdienām. Grāmatā ir iekļauts ārkārtīgi bagāts vizuālais materiāls, nobeigumā - sarunas ar Latvijas Radio kora vadītājiem Sigvardu Kļavu un Kasparu Putniņu. |
| Physical Description: | 350 Seiten Porträts, Faksimiles |
| ISBN: | 9789934191060 |
Staff View
MARC
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| 245 | 1 | 0 | |a Latvijas Radio koris |b Fakti. Atmiņas. Attēli |c tekstu autori: Ize Šarkovska-Liepiņa, Maruta Rubeze, Orests Silabriedis |
| 264 | 1 | |a Rīga |b VSIA "Latvijas Koncerti" |c 2017 | |
| 300 | |a 350 Seiten |b Porträts, Faksimiles | ||
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| 337 | |b n |2 rdamedia | ||
| 338 | |b nc |2 rdacarrier | ||
| 505 | 8 | |a Englische Zusammenfassung | |
| 520 | |a Šis ir apjomīgs mēģinājums verbāli restaurēt Radio kora skanējumu vēsturi grāmatā. Ilze Šarkovska-Liepiņa ir apskatījusi periodu no 1940.-1962. gadam, savukārt Orests Silabriedis - no 1963.gada līdz mūsdienām. Grāmatā ir iekļauts ārkārtīgi bagāts vizuālais materiāls, nobeigumā - sarunas ar Latvijas Radio kora vadītājiem Sigvardu Kļavu un Kasparu Putniņu. | ||
| 610 | 2 | 7 | |a Latvijas Radio |b Koris |0 (DE-588)5525817-7 |2 gnd |9 rswk-swf |
| 648 | 7 | |a Geschichte 1940-2010 |2 gnd |9 rswk-swf | |
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| 689 | 0 | 0 | |a Latvijas Radio |b Koris |0 (DE-588)5525817-7 |D b |
| 689 | 0 | 1 | |a Geschichte 1940-2010 |A z |
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| 700 | 1 | |a Šarkovska-Liepiņa, Ilze |4 aut | |
| 700 | 1 | |a Rubeze, Maruta |4 aut | |
| 700 | 1 | |a Silabriedis, Orests |4 aut | |
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Record in the Search Index
| _version_ | 1804177534256939008 |
|---|---|
| adam_text | SATURS
llze SARK0VSKA-LIEPINA.1940-1962 7
Piedzimsana 11
Un jauns säkums 13
Pirmie koncerti 13
Radiovijpos zem Lielväcijas karogiem 16
Atdzimsana: zem Stajina karoga 20
Un atkal atdzimsana: atkusna vejos 25
Orests SILABRIEDIS. 1963-1987 41
Racevska säkums - runä pats un runä citi 44
Racevska säkums - dara pats un dara citi 45
Tautasdziesmu apdaru koncertcikls 46
Uz Maskavu un ne tikai 46
Cejs pirms 1967. gada 47
Kormeistari 47
Kora solisti 48
Darbs pec 1967. gada 50
Komponisti 51
No Radio kora 40. jubilejas lidz Racevska 50. jubilejai 54
Racevska jubilejas gads 55
1987. gads - Radio kora darblbas oträ posma noslegums 57
Orests SILABRIEDIS. 1987-1992 107
Näk Kjavins un aicina Kjavu 108
1988. gada 30. janvära koncerts 11 o
1988. gads: Komponistu savienibas plenums un laikmetu griezi 110
Mocarta Rekviems 111
Dziesmu svetki 1990 111
Baltijas radio koru festivals 111
... ; 1991. gada Bruknera akcija 112
Italija, ASV, Kanäda 114
“Satiksanäs müzikä” ar Snitki 114
Orests SIU BRIEDIS. 1992 -... 129
1992. gada reforma 130
Sigvards aicina Kasparu 130
Müzika Reformatas, zem líelas arkas un citur 132
1995. gada reforma 133
Koncerti un koncertu cikli Latvijâ 150
Latvijas Radio korim - 75 182
“Arena 188
Koncertturnejas 190
TENSO 222
Grupa 230
Radio kora teâtris 246
leskanojumi 296
Apbalvojumi 302
Koristu izteikas 308
Maruta RUBEZE. Par lietâm. Saruna ar Sigvardu Kjavu 316
Maruta RUBEZE Par daudzveidigumu. Saruna ar Kasparu Putninu 324
Radio kora skanuplates 330
Radio kora CD 334
Kora vadiba un dafibnieki 338
Personu ràdïtâjs 342
Summary 346
Fotoattelu paraksti - leva EZERIETE
personu
Sarakstä iekjautas personas, kas nosauktas
grämatas pamattekstos par laika periodu FTdz
1992. gadam.
Gadskaitji nav noräditi tiem citvekiem, par kuriem
grämatas veidotäji nemäceja uziet Sädas zinas.
A
Alaimo Simone [Alaimo, 1950), dziedätäjs -136
Alberings Ansis (1925-1999), dirigents - 43
Albina Diana (1926-2013), müzikas vesturniece - 45,
46,52,347,348, 349
Aleksandrovs Aleksandrs (AneKcaHßpOB, 1883-1946),
komponists -15
Amolins Leons (1937), dirigents-46, 47,48, 52,165,
348
Andermanis Maigurs (1922-2011), dziedätäjs - 47
Andersone-Siläre Laima (1929), dziedätäja - 46
Andersons Uldis, zurnälists -132
Antipovs Gurijs (1935-1998), dziedätäjs - 46
Apollonio Karmela {Apollonio), dziedätäja -136
Ardamatskis Vasilijs (ApßaMarcKMH, 1911-1989),
¿urnälists, rakstnieks -12
Arhipova Irina (ApxunoBa, 1925-2010), dziedätäja - 50
Arnonkürs Nikolauss (JHarnoncourt, 1929),
dirigents-317
Aspazija (1865-1943), dzejniece -11,47,114,182
Asme Ligita (1954), muzikologe - 56,135
Auznieks Krists (1992), komponists - 325
Äbele Adolfs (1989-1967), komponists -15,24,111,
112
Äbele Teofilija (1909-1988), vokälä pedagoge - 49
Aböls Juris (1950), komponists - 156,165,182, 274,
286
B
Bahs Johans Sebastians (Bach, 1685-1750),
komponists -130,156,174,317,318,320,328
Baiode Laila (1936-2016), dziedätäja - 46, 47,48,49
Balodis Uldis (1930-1992), dirigents - 50
Barisons Peteris (1904-1947), komponists -14, 21,
45, 48, 49, 50, 53, 55, 56,111,182
Barons Krisjänis (1835-1923), folklorists - 11,18, 56
Barskovs Ojegs (1935-2002), komponists - 45
Bärda Fricis (1880-1919), dzejnieks - 52,156
Bärda Pauline (1890-1983), dzejniece - 52
Beikere Dzeneta (Baker, 1933), dziedätäja - 49
Belsevica Vizma (1931-2005), dzejniece - 52
Bezprozvanovs Ivars (1969), öellists -156, 265
Benins Jekabs (1934-2015), LRK dziedätäjs - 48, 50
Berds Viljams (Byrd, 1543-1623), komponists -156
Berzina llze (1982), LRK dziedätäja - 278
Berzina Karina (1951), muzikologe - 50
Berzina Vizbulite (1929), muzikologe - 46,51
Berzins Andris (1952), aktieris - 52, 55
Berzins Arturs (1975), trombonists - 238
Berzins Ivars (1954), dirigents - 48,54,113,165
Berzins Leonids (1928-2004), kinoproducents -19,21
Berzinä Uldis (1944), dzejnieks, tulkotäjs -165
Bethovens Ludvigs van (Beethoven, 1770-1827),
komponists-22, 46, 47, 50,132,136
Bickovs Semjons (Buhkob, 1952), dirigents -132,136
Bikis Ärijs (1934), dziedätäjs, LRK izpilddirektors -130
Bimbers Kärlis (1952), LRK dziedätäjs - 48,114,284
Bisenieks Valdis (1928), tulkotäjs - 165
Biss Qirts (1967), komponists -168,254,266,329
Bitäne Anna, tautas dziedätäja -168
BTrins Arnolds (1925-2010), LRK dziedätäjs un nosu
pärzinis - 25, 26, 43,44,48, 54, 557,133, 319
Blaumanis Rudolfs (1863-1908), rakstnieks - 50, 52,
54
Blinkena Aina (1929), valodniece - 46
Blohs Ernests (Bloch, 1880-1959), komponists - 136
Bonija Barbara (Bonney, 1956), dziedätäja - 49
Borodins Aleksandrs (ßopoßtiH, 1833-1887),
komponists -15,22
Braierss Gevins (Bryars, 1943), komponists -156,
188, 327
Brauns Hermanis (1918-1979), pianists -14
Brauns Martins (1951), komponists - 48, 54,56,148,
149,157,165,182, 292
Brämss Johanness (Brahms, 1833-1897),
komponists-19, 51,109,112,161,318
Briede Vija (1934-1987), muzikologe - 53, 54,55,56
Briede Vilma (1904-1990), dziedätäja -17,49
Briedis Leons (1949), dzejnieks - 52
Briezkalns Märis (1956), sitaminstrumentälists - 53
Brikmanis Ugis (1956), rezisors -148,165,168,182,
274, 291
Brukners Antons (Bruckner, 1824-1896),
komponists-112,113,114,319
Brutäne Dora (1907-1983), dziedätäja - 22,49
Brutäne Valija (1911-1990), dzejniece - 57
Burkina Agate (1985), LRK dziedätäja -182
Busa Milda (1898-1954), LKP CK Dailliteratüras un
mäkslas nodajas vaditäja - 24
Buskins Isers (Bushkin, 1928), dziedätäjs - 46
Butans Peteris (1942), komponists - 156,157
C
Caune Äris (1956), LRK dziedätäjs - 55
Cerins Juris (1947), LRK dziedätäjs - 48,49, 50
Cimze Jänis (1814-1881), skolotäjs, komponists - 46
Cintins Ojgerts (1935-1992), ergelnieks - 47,55
CTrule Vilma (1923), pianiste - 47
Cirulis Jänis (1897-1962), komponists -18
CTzaka Rüta (Ziesak, 1963), dziedätäja -132,136
Öaikovskis Peteris (VaHKOBCKMu, 1840-1893),
komponists -15,19,22, 50
Cesnokovs Pävels (HecHOKOB, 1877-1944),
komponists - 27
Cudars MatTss (1991), gitärists - 329
D
Daine Leonarda (1924), dziedätäja - 24,50
Dalbins Jänis (1935), LRK dziedätäjs - 50
Dambis Pauls (1936), komponists - 47, 49,52, 56,
110,248
Dargomizskis Aleksandrs (flaproMbixcKHü, 1813-
1869), komponists - 22
Darkevics ArvTds (1918-1992), muzikologs - 20,21,
45,110
Daskovs Aleksandrs (1914-2004), dziedätäjs - 24
Davidone Vera (1923-2006), dziedätäja - 24,47
Därzins Emils (1875-1910), komponists - 27,43,45,
49,50, 51,56,110,111,113,114,182
Därzins Volfgangs (1906-1962), komponists,
pianists -15,24
Debesnieks Ivars (1934-2005), LRK dziedätäjs - 48,
53
Degeiters Pjers (De Geyter, 1848-1932),
komponists - 13
Deksnis Tälivaldis (1946), pianists, ergelnieks - 50,
52,156
Delholma Kirstena (Dehlholm, 1945). mäksliniece.
rezisore - 269, 278,327
Dirifle Moriss (Duruflé, 1902-1986), komponists - 55
Dolmatovskis Jevgenijs ¡flomaTOBCKiiH, 1915-1994).
dzejnieks - 50
Dmitrevskis Georgijs IflMHTpeecKHH, 1900-1953),
dirigents - 21
Dreize Biruta (1922-2010), muzikologe - 47
Dubra Rihards (1964), komponists -182
Dunajevskis Isäks (flyHaeBCKMü, 1900-1955),
komponists - 22, 48
Dümins Jänis (1922-2011), dirigents - 28, 49
DzenTtis Andris (1978), komponists - 165,188,265,
317.319
Dzerzinskis Ivans IflaepxMHCKMH, 1909-1978),
komponists - 22
Dzilums Gundars (1964), LRK dziedätäjs - 182, 254,
265, 278
Dzonss Toms (Jones, 1940), dziedätäjs - 49
E
Egfitis Andrejs (1912-2006), dzejnieks -138
Einfelde Maija (1939), komponiste -156,165,182,
319
Elturka Busra (El-Turk, 1982) komponiste -182
Eriksons Eriks (Ericson, 1918-2013), dirigents - 222,
319
Esenvalds Eriks (1977), komponists -156,157 161,
165,168,182,325
Ezeriete leva (1963), LRK dziedätäja - 43.44,55.130.
219,253,265, 278
F
Fajiks Jurijs (0aiMK, 1936-2009), komponists - 48
Feigelsons Izrails (1921-1991). dziedätäjs - 47
Feils Alfreds (1902-1942). komponists -18
Findlings Alens (Findling, 1960).
koncertproducents -134
Finks Markoss (Fink, 1950). dziedätäjs -136
Fisers Mikelis (1915-1984). dziedätäjs - 24
Francs Justs (Frantz, 1944). dirigents -130
Frinberga Regina (1928), dziedätäja - 47,50
Furmaniks Jozefs (Furmanik, 1867-1953),
komponists - 49
G
Gailis Daumants (1927-1991), dirigents - 26.51
Garanca Anita (1949-2015). dziedätäja, vokälä
pedagoge-313
Garanca Elina (1976), dziedätäja - 309
Garüta Lucija (1902-1977), komponiste - 26.111.
165,349
Gärdiners Dzons Eliots (Gardiner, 1943), dirigents -
317.320
Gilelss Emils (rune/ibc. 1916-1985). pianists - 11
Glagojevs Jurijs (inaroneB, 1926-2013),
komponists - 24, 347
Goldins Maksis (1917-2009), muzikologs,
342
komponists - 45
Goldsteins Edmunds (1927-2008), komponists - 25,
26,45,47,49,56
Golcs RTdigers ton der (Goto, 1865-1946), väcu
generalis -13
Gliers Reinholds (Dinap, 1875-1956), komponists - 49
Gluks Kristofs Villibalds (Gluck, 1714-1787),
komponists - 50,269
Gpnka Mihails (DiMHKa, 1804-1857), komponists - 21,
22,50
Graubina Erika (1911-2000), pianiste - 46
Graubina llze (1941-2001), pianiste - 51
Graubins Jekabs (1886-1961), komponists -13,14,
18,19,24,27,46,47,48,49, 51,53, 55,56
Greidäne Lilija (1944), dziedätäja - 55
Grävelis Peteris (1919-1995), dziedätäjs - 24
Grävltis Olgerts (1926-2015), müzikas vesturnieks,
komponists-26,27,47,52,53, 54,108,109,110,
115
Grinberga Silvija (Greenberg, 1955), dziedätäja -130
GrTnfelds Nilss (1907-1986), muzikologs,
komponists - 22,27
Gnnups Arturs (1931 -1989), komponists - 25
Grünte Evalds (1912-1980), LRK dziedätäjs -13
Guno Saris (Gounod, 1818-1893), komponists - 22,
50,141
Qeibaks Mintauts (1929-2004), zurnälists - 49, 54
H
Hacaturjans Arams (XaHarypM, 1903-1978),
komponists -14
Haidns Jozefs (Haydn, 1732-1809), komponists -19,
22,130,132
Handsins Zaks (Handschin, 1886-1955), ergelnieks,
müzikas vesturnieks -12
Hägens Arturs (Haagen), pianists -18
Härvijs Dzonatans (Han/ey, 1939-2012),
komponists - 286,327
Hass Georgs Fridrihs (Haas, 1953), komponists - 327
Hedblads Larss (Hedblad), zurnälists -138
Heine-Vägnere Zermena (1923), dziedätäja - 47,48,
50
Hendelis Georgs Fridrihs (Handel, 1685-1759),
komponists -112,326
Herders Johans Gotfrlds (Herder, 1744-1803),
filosofs -19
Herevege Filips (Herreweghe, 1947), dirigents - 320
Holligers Heines (Holliger, 1939), obojists,
komponists, dirigents -161,327
Humperdinks Engelberts (Humperdinck, 1854-1921),
komponists -19
I
Ivanovs Jänis (1906-1983), komponists -19,20, 22,
25,45, 46,111,156
J
Jaksone Gertrüde (1924), LRK dziedätäja - 48,49,
50, 54
Jansons Arvlds (1914-1984), dirigents - 22
Jansons Mariss (1943), dirigents - 319
Jansons Viesturs (1974), dziedätäjs -156
Jäkobsons Egils (1975), LRK dziedätäjs - 274
Jekste Alberts (1908-1987), filmu tehnikis un
administrators -16
Jermaks Romualds (1936), komponists - 48,54
Jerums Alberts (1919-1978), komponists -156
Jozapaitis Jurgis (Juozapaitis, 1942), komponists - 44
Jozuus Pauls (1873-1937), ergelnieks, dirigents -12,
13,14
Juhnevica Sarma (1952), LRK dziedätäja - 50
Jurjänu Andrejs (1856-1922), komponists -14,19, 22,
45,46,111,114
K
Kahidze Dzansugs (Kakhidze, 1936-2002),
dirigents -132,136
Kairiss Viesturs (1971), rezisors - 284,320
Kalce Ojärs (1931), LRK dziedätäjs - 46
Kalnina Hermine (1892-1984), Teodora Kalnina
sieva - 54
Kalnina Mirdza (1932-2005), dziedätäja, vokälä
pedagoge - 44, 46, 48,49
Kalnins Aldonis (1928), komponists - 25,26,27,45,
47, 48, 49
Kalnins Alfreds (1879-1951), komponists -18, 21,26,
27,30, 45, 46, 47,49, 50, 51,53,114,182
Kalnins Andzs (dati nav zinämi), Teodora Kalnina
vectevs- 12
Kalnins Daumants (1943), rotkalis - 21,292
Kalnins Imants (1941), komponists - 51,54, 55, 56,
291,292,318
Kalnins Indulis (1918-1986), komponists - 21,47, 51
Kalnins Jänis (1904-2000), komponists - 24,111
Kalnins Pauls (1912-?), LRK dziedätäjs - 46, 48, 49
Kalnins Peteris (7-1940), Teodora Kalnina tévs -12
Kalnins Teodors (1890-1962), dirigents -10,11,12,
13,14,15,16,17,18,19, 20,21,22,24, 25, 26, 27,
28,30,43, 44, 45, 46, 47,48,49, 50, 51,52, 54, 55,
56,110,111,112,114,130,165, 319, 322, 326
Kalnroze Valdis (1894-1993), gleznotäjs - 55
Kalsons Romualds (1936), komponists - 25, 27,45,
47, 50, 53, 56
Kajistratovs Valérijs (JKa/wcrparos, 1942), dirigents,
komponists - 50
Kaminskis Valters (1929-1997), komponists - 25, 26,
27,47, 50
Kannina-Uepina Agnese (1976), vljolniece -156,265
Karaseva Elina (1981), LRK darbiniece - 222
Karlsons Juris (1948), komponists - 52,54, 55,110,
112,156,157,165182
Karpa Marita (1990), akordeoniste -182
Karps Kristaps (1990), sitaminstrumentälists -182
Karulis Konstantins (1915-1997), zurnälists,
valodnieks- 12
Kasemegi Roberts (Kasemägi, 1919-2015), müzikas
kritikis - 46
Kelcs Hanss (Koeltzsch), müzikas apskatnieks,
radiozurnälists -17
Kirhensteins Augusts (1872-1963), mikrobiologs,
politisks darbinieks -14,48
Kirhslägere Angelika (Kirchschläger, 1965),
dziedätäja - 49
Klisäns Arvlds (1934), mezradznieks - 55
Klotins Arnolds (1934), müzikas vesturnieks -11,12,
15,16,17,18,55,130
Kjava Sigvards (1962), dirigents -10, 57,108,109,
110,111,112,113,114,130,132,133,135,136,138,
141,156,157,159,165,168,174,182,188, 259, 278,
286, 292, 316
Kjavins Juris (1944), dirigents -10,57,108,109,110,
112,113,130,138,165,325
Knipers Levs (Knunnep, 1898-1974), komponists - 22
Kobzons Josifs (1937), dziedätäjs -182
Kokare Edite (1933-2007), LRK dziedätäja - 43
Kokars Gido (1921), dirigents - 43,49
Kokars Imants (1921-2011), dirigents -10, 21,22,25,
26,43, 44, 50, 51,108,109,165, 317,326
Kopalins l(ja (KonannH, 1900-1976), rezisors -16
Kovajs Marians (KoBa/ib, 1907-1971), komponists-
27,47, 50
Krasnopjorovs Sergejs (1900-1961), komponists -14,
20
Kraule-BIrlte Zigrlda (1932), LRK dziedätäja - 26,27,
30
Kreicberga Zane (1971), rezisore - 238,266, 274
Kreicis Oskars (1913-?), LRK dziedätäjs -13
Krenberga Mära (1940), LRK dziedätäja - 45,48,49,
50
Krenbergs Imants (1930-2005), kinorezisors - 49
Krievins Nikolajs (1914-?), LRK dziedätäjs -13
Krikis Centis (1930), dirigents - 26, 43, 51,165
Krikis Druvis (1932-2012), dziedätäjs - 46
Krisbergs Valdis (1944), uznemejs -130
Krlgena Maija (1939), dziedätäja - 55
Krümina Gundega (1976), LRK dziedätäja -182, 265,
291,292
Krüminliepa Andris (1952-2016), dirigents - 46
Krümins Aivars (1941), trompetists, komponists - 50
Krümins Andrejs (1926-1999), dirigents,
folklorists - 45
Kudrins Vladimirs (1990), gitärists -182
Kudrjavceva Jelizaveta (KyflpPBueBa, 1914-2004),
dirigente - 317
Kujkovs Dmitrijs (1906-1989), dirigents - 22
Kupcs Märis (1966), dirigents -113, 325,326
Kupers Emils (KuperlCooper, 1877-1960),
dirigents -13
Kuple Dina (1930-2010), aktrise - 55,130
Kurpniece Baiba (1971), muzikologe -188
Kuréevs Jänis (1977), dziedätäjs -182
Kuzenko Aleksandrs, kontrabasists - 53
Kvelde Pauls (1927), dirigents - 49
Kvite Malda (1937), zurnäliste - 51
KepTtis Egils (1948-2001), dirigents - 47
Kepltis Jänis (1908-1989), komponists, pianists -17,
47
Kenina Anna (1937), dirigente - 47
Kirsis Guntars (1965), müzikas administrators -130,
141,188, 318
Kirsis Normunds (1971), LRK dziedätäjs - 265,266
Kivulis Ivars (1935), LRK dziedätäjs - 50
L
Labanovskis Risards (1940), zurnälists -112,130
Lahenmanis Helmüts (Lachenmann, 1935),
komponists - 329
Lasmanis Märis (1961), komponists - 50
Lazda Zinaida (1902-1957), dzejniece -138
Leikuös Stanislavs, dzejnieks, administrators - 47
Leja Jänis, LRK dziedätäjs - 48
Lehmusa-Briede Inta, zurnäliste - 57
Leimane liga (1943), folkloras kopas “Suitu sievas”
vadltäja-156
Leonhards Gustavs (Leonhardt, 1928-2012), dirigents,
klaveslnists - 317
Lepasepa Skaidrlte (1915-1998), LRK vokälä
pedagoge - 44
Lämanis Indrikis (1904-1960), rakstnieks, politisks
darbinieks-12,16,24,30
Lidholms Ingvars (Lidholm, 1921), komponists -132
Liepina Melita, LRK dziedätäja - 49
Liepins Aldis (1961), pianists-156, 284
Ligeti Qergs (Ligeti, 1923-2006), komponists - 322
Linde Edgars (1971), dirigents - 53
Lindenberga Vita (1942-2006), muzikologe - 48, 54
Lindenbergs Jänis (1941-2014), dirigents,
343
é
pedagogs - 55
Lindbergs Jäzeps (1922-1994), dirigents - 47
Lining Arnolds (1930-1998), aktieris, rezisors - 47,50
Linins Eduards (1968), radio zurnälists - 182
Licite Paula (1889-1966), komponiste - 21, 47, 49
Licltis Jänis (1913-1978), komponists - 24
Lota Felisitija (Lott, 1947), dziedätäja - 49
Luksevica Ludmila (1934), dirigente,
radiozurnäliste - 56
Lungerhauzens Helmüts (Lungerhausen), vijolnieks,
müzikas kritikis- 18
LOse Herta (1892-1980), dziedätäja -14
Lüsens Jänis (dels, 1984), müzikis -182
Lüsins Jänis (tevs, 1959), komponists -182,292
Lüsina Inese (1958), müzikas apskatniece- 113,132,
141,148, 248,265,269,278
Benins, Ist. v., Uljanovs Vladimirs (Y/ibftHOB, 1870-
1924), politics-14,15,50
M
Madrevics Arturs (1901-1975), vijolnieks - 17
Maijere Emija [Mayer), dziedätäja -18
Makmilans Kevins (McMillan, 1958), dziedätäjs- 130
Manevics Aleksandrs (MaHeavw, 1908-1976),
komponists - 50
Marija Anna (Murrey, 1945), dziedätäja - 49
Martinsone Inga (1970), LRK dziedätäja -182,265,
266,286
Maskats Arturs (1957), komponists - 55,110,165,
182,259, 284, 318, 320
Medinä Jänis (1890-1966), komponists, dirigents -
12,14,15,16,17,18,19, 20,47,111
Medins Jäzeps (1877-1947), komponists - 21, 22,
48,49,111
Medins Jekabs (1885-1971), komponists - 20,21,22,
25,28, 47, 50
Mednis Haralds (1906-2000), dirigents - 26,28
Meija Ilona (1971), flautiste -156,265
Meijers Andrejs (1929), LRK dziedätäjs - 48
Melkuss Egons, LRK dziedätäjs - 46,48
Mellenberga Maija (1939), LRK dziedätäja - 50
Melngailis Emilis (1874-1954), komponists,
foklorists -14,18, 21,26, 27,30,45,46,48,49, 51,
110,130
Mesiäns Olivje (Messiaen, 1908-1992),
komponists - 328
Miezelaitis Eduards, (1919-1997), dzejnieks - 47
Mikelsons Andris, dziedätäjs - 55
Mikelsons Eduards (1896-1969), LRK dziedätäjs - 22
Milkevicüte Irena (Milkeviciöte, 1947), dziedätäja - 50
Mijutins Georgijs (Mhjiiotmh, 1903-1968),
komponists - 22
Miroänicenko Grigorijs (1951), LRK dziedätäjs - 47, 56
Mjaskovskis Nikolajs (Mzckobckhü, 1881-1950),
komponists-15
Mocarts Volfgangs Amadejs (Mozart, 1756-1791),
komponists -19,21,43, 50,111,130,132,141
Moreino Sergejs (1964), rakstnieks, tulkotäjs -165
Mravinskls Jevgenijs (MpaBiiHCKuu, 1903-1988),
dirigents - 21,319,320
Muradeli Vano (1908-1970), komponists - 22, 24
Musins l|ja (MycuH, 1903-1999), dirigents - 317
Musorgskis Modests (MycoprcKHÜ, 1839-1881),
komponists -19
Muske Vija (1927-1988), muzikologe - 46
N
Nalbandjans Johanness (Ovaness, Han6aH/^H,
1871-1942), vijolnieks-12
Nartiss Vairis (1976), trombonists - 238
NTmanis Jekabs (1980), komponists - 168,284
Norvilis Jänis (1906-1994), komponists - 16
Nesterenko Jevgenijs (hiecrepeHKo, 1938),
dziedätäjs - 50
0
Olevs Oja (Olev, 1935), dirigents - 49
Opincans Bruno (1957), LRK dziedatajs - 50
Ordelovskis Gunars (1927-1990), dirigents,
komponists - 50,56
Oris Karls (Orff, 1895-1982), komponists -130
Ozolina Aina (1928), LRK dziedataja - 45,54
Ozolins Janis (1908-1981), komponists, dirigents -
24,25, 28,45,49, 50
Ozolins Miervaldis (1922-1999), aktieris - 55
Ozoiitis Herberts (1902-1987), dziedatajs -15
Ozols Jekabs (1863-1902), komponists - 51
P
Paegle Leons (1890-1926), rakstnieks -15
Paegle LTga (1988), LRK dziedataja -182
Parsa leva (1971), dziedataja -156,182,274
Pauls Raimonds (1936), komponists, pianists - 50,53,
54.57.110.112.113.114.165
Paura Zaiga (1948), LRK dziedataja - 48
Paurs Amis (1961), dirigents - 48, 54,165
Pavasars Helmers (1903-1998), komponists -18
Pavasars Maris, LRK dziedatajs - 30
Parups Arvlds (1890-1946), dirigents - 20
Pegusevs Aleksejs (1992), komponists -182
Pelse Arvlds (1899-1983), politikis - 46
Pendereckis Ksistofs (Penderecki, 1933),
komponists-132,139
Perts Arvo (Part, 1935), komponists -130,188,318,
322
Peters Janis (1939), dzejnieks - 52,53,56,114
Petraskevics Janis (1978), komponists -161,328
Perkone-Redovica Inga (1966), kino vesturniece-15,
16
Pesla Lucija (1930-1999), LRK dziedataja - 46,48,49
Petersons Ingus (1959), dziedatajs - 53
Petersons Kristaps (1982), komponists,
kontrabasists -182, 286,325
Petersons Peteris (1923-1998), rezisors,
dramaturgs - 54,130
Pilane Veronika (1929-2006), dziedataja - 50
Pinoks Trevors (Pinnock, 1946), dirigents,
klavesTnists - 320
Piakidis Peteris (1947), komponists - 49, 52,54,55,
56.110.156.165
Platere Skaidrite (1943), LRK dziedataja - 48
Pludons Viiis (1874-1940), dzejnieks - 56
Pjavniece Paula (1989), rezisore -182
Poikans Oskars (1982), makslinieks, muzikis - 238
Poriete Ivita (1952), LRK dziedataja - 48
Porietis Janis (1983), trompetists -182
Porietis Jekabs (1951), LRK dziedatajs - 48
Poruks Jekabs (1895-1963), komponists -14
Potje Ezens (Pottier, 1816-1887), dzejnieks -13
Priede Gunars (1928-2000), dramaturgs - 54
Priednieks-Kavara Arturs (1901-1979), dziedatajs -
15,16
Prokofjevs Sergejs (llpoKorpbeB, 1891-1953),
komponists -11,22
Puskins Aleksandrs (flymi^H, 1799-1837),
dzejnieks - 49, 50, 54
Pupa Guntars (1945), muzikologs - 54,110,113
Purvs Ziedonis (1923-1989), dzejnieks - 45
Putnina Jautrite (1929), pianiste - 50
Putnins Kaspars (1966), dirigents-10.112,113,114,
130,133,138, 141.148,156,161,165,188, 222. 231,
238, 265, 266, 269, 278, 324
Puce Milda (1903-1985), vokälä pedagoge - 49
Püce Valts (1962), komponists -156.157,168. 292
Püce Voldemärs (1906-1981), rezisors -15
R
Racevskis Edgars (1936), dirigents -10,43, 44.45.
46, 47, 48, 49, 50, 51,52, 53, 53, 55,56,57,108,114.
148,165
Radzins Klävs (1973), zurnälists, uznemejs -130
Rahmaninovs Sergejs (PaxManmoe, 1873-1943),
komponists, pianists - 22,50, 322,328
Rainis (1865-1929), dzejnieks - 50,112,182
Ramans Qederts (1927-1999), komponists - 45,47.
48, 52,54,110
Raters Dzons (Rutter, 1945), komponists - 49,110
Ratniece Leonora (1936-2015), LRK dziedätäja - 44,
47, 48, 49, 50, 54, 55
Ratniece Santa (1977), komponiste -161,165,182,
278, 328
Ratnieks Jänis (1935-2015), LRK dziedätäjs - 44, 47,
48, 50,112,113
Reihs StTvs (Reich, 1936), komponists -188, 322
Reinholds Jänis (1882-1936), komponists - 49, 52
Reinis Aigars (1975), LRK dziedätäjs, ergelnieks - 265,
278
Rendels Deivids (Rendall, 1948), dziedätäjs -136
Retenais Jänis (1975), tubists - 238
Rijnieks Vitolds (1949), dirigents - 47,165
Rimskis-Korsakovs Nikolajs (PuMcmH-KopcaKOB,
1844-1908), komponists -19,22
Rimäeviös Boriss (1936), Latvijas Radio
administrators -130
Rokpelnis Fricis (1909-1969), dzejnieks, sabiedrisks
darbinieks-16
Romancäne Iveta (1975), LRK dziedätäja - 284, 291
Rubenis Juris (1961), mäcitäjs -165
Rubeze Maruta (1952), muzikologe - 47,141,316.
324
Rubinsteins Antons (PyöuHtuTeüH, 1829-1894).
komponists, pianists - 30
Rubins Roberts (1976), rezisors - 182, 286, 292
Rudzrtis Helmärs (1903-2001), grämatu un
skanuplasu izdevejs -16
Rupaine Ilona (1966), muzikologe, komponiste - 156
Rupeika Valda (1951), LRK dziedätäja - 50
Rusteikis Aleksandrs (1892-1958), kinorezisors - 182
Rütentäls Kärlis (tevs, 1946-1988), skanu rezisors -
53,55
Rütentäls Kärlis (dels, 1980), LRK dziedätäjs - 266
S
Sakse Anna (1905-1981), rakstniece - 52
Saksons Edgars (1970), sitaminstrumentälists - 238
Sala Helena (1955), LRK dziedätäja - 48
Sala llgvars (1950), LRK dziedätäjs - 48
Salmina Elvira (1923-1994), dirigente -14. 22
Sams Viktors (1919-1993), muzikologs.
komponists - 26
Sandstrems Svens Dävids (Sandström, 1942).
komponists -132,139,156,319
Saulitis Bruno (1922-1970), dzejnieks - 52
Savcenko Anatolijs (1933-1998), dziedätäjs - 46
Selickis Andrejs (1960), komponists -182
Sermükslis Jänis (1855-1913), ergelnieks.
344
komponists - 46
Silabriedis Orests (1971), müzikas apskatnieks -16,
43,108,130,156,165,182,254,259,265
Sildegs Jänis (1939-1996), komponists, pianists - 50
Silins Nikolajs (1918-2007), rakstnieks -19,21
Skriveris Juris (1934-1996), dirigents - 43,47
Skulme Dzemma (1925), gleznotäja - 56
Skulte Adolfs (1909-2000), komponists - 21,22,25,
26,54
Skulte Bruno (1905-1976), komponists -15,24,130
Smetana Bedrzihs (Smetana, 1824-1884),
komponists - 22
Smilgis Eduards (1886-1966), rezisors - 46
Snikers Jam s (1987), gaismu mäkslinieks - 182
Spärnina Marta (1984), vijolniece-182
Spure Zanis (1901-1943), politikis-16
Stabulnieks Uldis (1945-2012), komponists - 48, 54,
110
Stapns Josifs {CrajiMH, 1879-1953), PSRS valstvTrs -
14,15,20,24, 25
Stesenko Vladimirs ((CreweHKO, 1944), zurnälists - 56
Straume Egils (1950), komponists - 48,54,55,56,
111
Stravinskis Igors (1882-1971), komponists - 46,53
Stumbre Silvija (1925-1987), muzikologe - 46
Sudrabkalns Jänis (1894-1975), dzejnieks - 53
Sustro Marks (Soustrot, 1949), dirigents - 130
Suvorova Jekaterina (1968), artiste -182
Sviridovs Georgijs (Csupuflos, 1915-1998),
komponists - 49, 50, 54
Sarrino Salvatore (Sciarrino, 1947), komponists - 238
Sebalins Visarions (UJeÖajm, 1902-1963),
komponists - 47
Seks Otmars {Schoeck, 1886-1957), komponists -
136
Seisi Dzacinto (Scelsi, 1908-1988), komponists -148,
231,238, 327
Sera Hanna {Schaer, 1944), dziedätäja -136
Slesers Olafs (1947-1997), LRK dziedätäjs - 48,49,
50
SmTdbergs Vilnis (1944), komponists - 47,182
Sne Normunds (1960), obojists, dirigents,
audioproducents - 56,132,188,253,265
Snitke Alfreds (LUhMTxe, 1934-1998), komponists-
114,115, 319, 322,328
Sostakovics Dmitrijs {tUocraKOBm, 1906-1975),
komponists -11,22,50,320
Strauss Johans ([Strauss, 1825-1899),
komponists - 22
Strauss Rihards (Strauss, 1864-1949),
komponists-49,112
Susts Ojgerts (1927), fagotists, radiozurnälists - 55
Suberts Pauls (1884-1945), pianists - 55
Süberts Francis (Scbuberf, 1797-1828),
komponists -18,46,49,50
Sümahere Dagmära (1927), Latvijas filharmonijas
koncertu vadrtäja - 47
Sümanis Roberts (Schumann, 1810-1856),
komponists -18,110
T
Tabaka Maija (1939), gleznotäja - 56
Taflat-Kelpsa Jozs (Taltat-Kefpsa, 1889-1949),
komponists, dirigents - 50
Tanejevs Sergejs (Taweeß, 1856-1915),
komponists-27, 30
Taurins Martins (1978-2003), audioproducents - 265
Temirkanovs Jurijs {TeMupKanoB, 1938),
dirigents-319
Tenne Kärlis (1938), komponists, pedagogs -26, 47
Tetere Marga (1912-1991), rezisore-51
Tiknuse ilga (1930-2015), dziedätäja - 46
Tisheizere Edite (1956), teätra kritike - 54
Tone Margita (1918-2012), LRK dziedätäja -15,16,
18
Tons Edgars (1917-1967), dirigents - 43,46,47
Torgäns Jänis (1942), muzikologs - 54,55,110
Tormiss Veljo (‘Tormis, 1930), komponists - 49,112
Travina Erna (1906-1996), dziedätäja -14
Treimane Rita (1946), dziedätäja - 44,50
Trempanovska Ksenija, vokälä pedagoge - 48
Tulevs Toivo ( Tulev, 1958), komponists -182
Türesens Lase (Thoresen, 1949), komponists -182,
161
U
Ulmanis Kärlis (1877-1942), politikis - 52
Urbane llze (1971), flautiste-156
Uria-Monzone Beatrise (Uria-Monzon, 1963),
dziedätäja -136
V
Vaickovskis Peteris (1988), LRK dziedätäjs -182
Valenta Velta (1948), LRK dziedätäja - 48, 50,52
Valerija {Banepw, 1968), dziedätäja -182
Vanaga Laima (1947), LRK dziedätäja - 50
Vanags Arturs (1908-1982), dziedätäjs -18
Vanka-Senjorena Aija (1955), muzikologe - 44,52
Vasks Peteris (1946), komponists - 53,56,110,132,
138,139,156,161,165,188
Vasiljevs-Buglajs Dmitrijs (Bacn/ibeB-Bymaii,
1888-1956), komponists -15
Väcietis Ojärs (1933-1983), dzejnieks - 50,52,56,
259,318
Vägners Rihards (Wagner, 1813-1883),
komponists - 43,138
Veide Rihards (1896-1964), dziedätäjs - 22
Veidenbaums Eduards (1867-1892), dzejnieks - 319
VeiJande Lillja (1933), flautiste - 53
Veismanis Andris (1965), dirigents -113,326
Verdi Dzuzepe {Verdi, 1813-1901), komponists -112,
132,134,136
Vebers Kärlis Marija {Weber, 1786-1826),
komponists -19
Vejs Teodors (1902-1965), dirigents - 22,48
Verina Sofija (1929-1994), muzikologe - 54
Vetra Mariss (1901-1965), dziedätäjs, rakstnieks -14,
17
Vilierusa Inta (1943), pianiste - 49
Villeruss Maris (1936-2014), cellists - 49
Vilumanis Aleksandrs (1910-1980), dziedätäjs - 50
Vijumanis Aleksandrs (1942), dirigents - 47
Vijums Martins (1974), komponists -182,231,238,
325,328
Vismane Vija (1920-2005), pianiste, ergelniece - 49
Vigners Leonids (1906-2001), dirigents, komponists,
pedagogs - 26,28,46,47,50,55
VIgneru Ernests (1850-1933), dirigents, pedagogs -
46,52
Vitolins Jekabs (1898-1977), müzikas vesturnieks - 46
VFtols Jäzeps (1863-1948), komponists, pedagogs -
12,14,18,19,22,27, 45, 46,49, 50,51, 55,108,109,
110,111,114,156
Voless Nils {Wallace, 1953), müzikas
administrators - 222
Voss Augusts (1919-1994), politikis - 46
2
Zabers Jänis (1935-1973), dziedätäjs - 48, 50
Zälite Milda (1903-1981), skolotäja - 52
Zälitis Jänis (1884-1943), komponists, müzikas
kritikis -14,26,27,45,46,52
Zanderlings Kurts {Sanderling, 1912-2011),
dirigents - 21
Zandersons Rihards (1910-1981), aktieris, radio
administrators - 43
Zahns Kärlis (1889-1978), rakstnieks -15
Zahns Kärlis (1930-2015), dziedätäjs - 46,47
Zahns Margens (1910-1993), komponists,
rakstnieks-13,14,16,21,22,24,25,45, 46,47,51,
53,156
Zahns Valdis (1942), vijolnieks - 49
Zelmane Rita (1934), dziedätäja - 49
Zemzaris Imants (1951), komponists - 56,112,114
Ziedonis Imants (1933-2013), dzejnieks -182,291,
318
Ziemejnieks Jänis (1897-1930), dzejnieks - 47
Zilberte Zane (1975), dirigente - 53
Zilberts Uldis (1973), trombonists - 238
Zilberts Ventis (1947), pianists - 47
Zile indrikis (1841-1919), dirigents, komponists,
ergelnieks - 46
Znotins Armands (1984), müzikas apskatnieks -182
Zosts Valerijs (1901-1960), pianists, müzikas
kritikis-15
Zans Dzanji {Zhang), dziedätäjs -136
Zilinska Inga (1981), LRK dziedätäja - 266
Zilinskis ArvTds (1905-1993), komponists, pianists -
19,21,24,25,110
Zigurs Ojärs (1930), pedagogs - 48
Sarakstu sastädija
llze Medne un Orests Silabriedis
345
summary
The Latvian Radio Choir has been founded three times. Therefore, the choir has three
birthdays. It was first founded during the summer of 1940 when Teodors Kalnins
was invited to form the Radiophone Choir. After a hiatus of one year, the choir was
established for a second time in 1945. Subsequently, the Latvian Radio Choir was
born for a third time at the start of 1957 and has been performing continually ever
since, despite the fact that its continued existence came under genuine threat in
both 1995 and 2009.
1940-1944
On 17 June 1940, the Latvian border was crossed by the forces of the Red Army.
By lunchtime, they had already reached Riga. Having entered the radio building,
Soviet officers issued an order that only music should be broadcast. On the evening
of 17 June, the President of Latvia Karlis Ulmanis gave his famous speech, which
culminated with his words imploring everybody to remain where they were. Reor-
ganisation of the Radiophone organisation lasted for several months. Essentially this
involved dividing it into two core sections of which one was technical (the Radio
Centre, which was responsible for supervising all Latvian radio stations), while the
other was ideological (the Radio Committee). Writer Indrikis Lemanis was appointed
Chairman of the Radio Committee. Nobody knew why; least of all the appointee
himself.
These were the circumstances under which Teodors Kalnins was invited to form the
first professional concert choir in Latvia - the Radiophone Choir. This slim specta-
cled gentleman was an experienced choir leader. While it is true that in his youth
he dreamed of playing the violin, continual practice resulted in an injury through
overplaying to one of his fingers, which ended his hopes of pursuing a career as a
concert performer. “The violin was dear to his heart,” says the Radio Choir’s long-
standing tenor, archivist and librarian Arnolds Birins. Nevertheless, Teodors Kalnins
knew full well that his path would inevitably lead him into the realms of music. With-
out recounting the details of the maestro’s biography in depth, it should be stressed
that he achieved some notable accomplishments before the Second World War.
Throughout the duration of the Free State, he worked as the Choir Master of the
National Opera, as well as being choir master and leader of several amateur choirs,
and, last but not least, he also conducted the Song Festival Union Choir.
The maestro stepped onto the rostrum as senior conductor of the Latvian Song
Festival for the first time in 1931. He made a successful debut. The choristers were
impressed by the new conductor and responded to his gestures willingly, During
Pauls Jozuus’ brief tenure as conservatory rector In 1935, Teodors Kalnins picked up
his baton at the opera house. 1940 followed soon after. For some, it was a terrible
year, but for others it proved to be a new dawn professionally.
The selection of potential Radio Choir singers took place in front of the microphone.
It was clear that Teodors Kalnins not only desired the voices of talented soloists,
but also those that would effortlessly blend into the ensemble and help to create a
harmonious choir sound. In that day and age in Latvia, this was a revolutionary ap-
proach. A long-standing member of the first choir, Margita Tone recalls hearing the
invitation to attend the audition quite by chance on the radio, perhaps even from one
of the loudspeakers, which were a feature of the Riga’s streets back in the day. The
audition was huge. For example, among the sopranos, there were 120 candidates for
11 places. The judges were Kalnins and some other gentlemen.
Initially, the newly formed choir worked twice a week for no pay. Its final core line-up
was only established in November. However, this does not mean that the choir was
publicly silent until then. On the contrary, if we are to believe the radio programmes
of the day, its first broadcast took place at seven o’clock in the evening on 16 July.
They state that “Latvju tautas dz. izpilda jaukts koris T. Kalnina vadiba” (“Latvian folk
songs performed by a mixed choir led by Teodors Kalnins ). In turn, the announce-
ment for the live broadcast on 29 July states that a performance would be given by
Teodors Kalnins’ choir. The programme was comprised of Jazeps Vitols’ “Kad mes
jauni bijam” {When We Were Young), Emilis Melngailis’ “Jau vakarblazma dziest” {The
Evening Glow is Already Dimming) and Jurjanu Andrejs’ “Luk, roze zied” {Look, the
Rose is Blossoming). From then on, the choir performed two or three times a week
in live broadcasts, mostly singing compositions by Latvian authors. However, the
conductor was only formally appointed to his position in August.
On 1 November 1940, a date that coincided with the birthday of Latvian Radio, for the
very first time, the readers of the radio programme read the words, “LPSR Radiofona
koris T. Kalnina vadiba” (“LSSR Radiophone Choir led by Teodors Kalnins”). On 6
November, the Revolution Festival was celebrated together with the artists from the
opera. Choir historian leva Ezeriete has ascertained that the first “European broad-
cast” took place on 3 December. This refers to a concert broadcast by the Moscow
Comintern Broadcasting Station, in which Latvian folk songs were performed by the
famous singers Herta Luse and Mariss Vetra, the pianist Hermanis Brauns and, of
course, the LSSR Radio Committee Choir. Among the pieces performed couple of
days later under the guidance of Janis Medins was Aram Khachaturian’s A Poem
about Stalin. How could you not sing along? 5 December was the anniversary of the
1936 constitution drafted in Stalin’s presence.
On 1 January 1941, the choir collaborated with foreign colleagues for the first time
in a concert also featuring performances by the Radio Committee orchestras of
Lithuania and Estonia. An address by the Chairman of the LSSR Supreme Council
Presidium Augusts Kirhensteins was followed by renditions of Peteris Barisons “Pa
zvaigznu ceju” l/ long the Starry Way), Jazeps Vitols’ “Upe and cilveka dzlve” {The
River and Human Life), “Diena aust” {The Day is Rising) and the cantata “Dziesma”
(Song) with a solo by Erna Travina. This was music that would have been appropnate
not only on 1 January 1940 (the last New Year before the Soviet occupation) or on
the first day of 1942 under the circumstances of the German occupation. Among the
pieces performed on 21 January - the anniversary of the death of Lenin - was a rendi-
tion of “Ai, ta nakts bij tik launa” {Oh That Night Was So Cruel) by the subsequent de-
veloper of the concert kokle (Latvian traditional psaltery), Sergejs Krasnopjorovs. On
6 February, the choir sang Latvian folk songs arranged by the composer and distin-
guished critic Volfgangs Darzins. The Radio Committee Choir also performed stage
works. On 16 February, a broadcast of Leons Paegle’s drama “Dievi and cilveki”
{Gods and People) conducted by Janis Medins, assisted by choir master Teodors
Kalnins, began at 16:50, while among the performers on 29 April were choirs from
Medins’ eponymously named opera. 1 May was celebrated by the Radio Committee
with a literary musical montage “Proletari, esiet solidari” (Proletarians, Demonstrate
Solidarity), which was performed by the Radio Committee Choir together with Her-
berts Ozolitis, a vocal pedagogue and singer, who would fall into disfavour with the
Communists in years to come.
By all accounts, the atmosphere within the choir was professional and friendly. So
friendly in fact, that ladies were permitted to knit and sew during rehearsals, albeit
only while other vocal groups were busy singing. Although the choir was essentially
quite static, Margita Tone recalls a trip in an open top goods vehicle (!) to the Pal-
ace of “Ziemejblazma” to record Bruno Skulte’s music for Voldemars Puce’s feature
film “Kauguriesi” (1941): “We sat down where we could, and the journey passed
pleasantly without incident.”
In Riga, the arrival of the Second World War was dramatic. Here are some of Margita
Tone’s recollections: “On the radio, it was announced that the choir and orchestra
must convene at Melngaivju nams (The House of the Blackheads) at 10:00 on 29 June.
Those who heard this instruction came. However, no conductor appeared nor did we
receive any further information. For about an hour or so, we sat there calmly. Some
of us read newspapers, others just chatted. And then the shooting began. The Ger-
mans were approaching Riga, but we were on the Russian side. After several hours,
we began to take an interest in whether anybody was going to turn up to do some
work. One after the other, some soldiers ran inside and then left. At some point it
turned out that somebody had locked the great door. The windows were barred. We
could not get out. We tried to call the directorate, only to be told, “There’s no longer
anybody here. Director Indrikis Lemanis is already in Moscow. It’s every man for
himself.” One of our company climbed up the emergency stairs and announced that
St Peter’s Church tower was ablaze and that the flames were heading our way. Now
getting outside was a problem. The more nervous among us wanted to jump out of
an upper-storey window. Finally, someone found an axe or crowbar in the basement,
but it still wasn’t possible to break open the great door. The masonry was badly
damaged by shooting and the door to the big safe burst open. I crept inside. It was
safer there. In the end, we succeeded in breaking open the small door leading onto
Grecinieku Street. Everyone ran outside, but I felt a kind of calm or even apathy. I al-
lowed everyone to run by me until one of the members of the orchestra finally pulled
me outside at the very moment when the burning frame of the small door fell in. We
could have ended up burning together with the Melngaivju nams.’’
During the war, rehearsals took place at the Philharmonic. At the end of the war when
the Red Army was once again approaching Riga, it seems that it was Janis Ivanovs,
who was entrusted with the painful duty of informing the choir that, “You’re fired.”
1945-1953
In Moscow in the summer of 1944, the Latvian Radio Committee was reborn. Hot on
the heels of the mighty Red Army, tasked with renewing the operation of the Radio-
phone organisation, the next wave of radio specialists were also approaching Riga.
Encompassed by the tram terminus, the Radio Building had been badly damaged.
The search was on for a place where broadcasting could take place. The building
at Skolas Street 6 became the new radio house. Despite the difficulties involved,
the premises were adapted for the purpose of broadcasting. In the late autumn of
1944, it was Janis Ivanovs who placed a record onto a gramophone with a recording
of Emils Darzins’ song Muzam zili” {Eternally Blue Are the Hills of Latvia). It would
not be long before this song would be banned. However, this was the first musical
346
broadcast in Latvia after the most pitiless war in history to date.
Everyone awaited the arrival of Janis Medins to lead the orchestra. As it turned out,
they were waiting in vain, because from now on Janis Medins’ was destined to reside
in Stockholm. The leadership of the orchestra was entrusted to Dmitrijs Kulkovs.
Meanwhile, everyone was looking forward to the return of Teodors Kalnins to lead
the choir. However, after being intercepted on the street, Teodors Kalnins was forced
to join the German Army in its retreat to the fatherland. Once there, he handled freight
at an airport, as well as doing various other jobs. Both the Radio Committee and
his family were in the dark as to his whereabouts. In August 1945, Teodors Kalnins
succeeded in returning to his homeland. Janis Ivanovs proudly introduced his radio
colleagues to Latvia’s best choir conductor of the day. For one month, while Jekabs
Medins got to grips with his position as Rector of the Conservatory, Kalnins edited
music programmes, but from October onwards, the Latvian Radio Choir resumed its
work under the leadership of its skilful founder.
Since the formation of the choir’s line-up had taken place in the absence of Teodors
Kalnins, a new audition had to be organised. The maestro was unwavering in his
belief that the Radio Choir’s singers must sing non-vibrato. Thus was born the new
ensemble’s singing paradigm, which in time became a specially refined idiosyncrasy
of Latvia’s entire choir singing movement. In his work with the Riga Chamber Choir
Ave Sol, this approach to singing would later be masterfully adopted and refined
by Imants Kokars. Teodors Kalnins first noticed the talented algebra, geometry and
trigonometry teacher Kokars after this impressively enterprising young man and the
choir of the Cesis Institute of Teachers twice (in 1948 and 1950) won 1st place in
Song Festival choir shows. In May 1951, Imants Kokars became Teodors Kalnins’
colleague as choir master of the Radio Choir.
Meanwhile, the radio employees had once again moved to a new base, because the
building on Skolas Street was hopelessly unsuitable for their requirements. Those
in charge had cast their eyes upon the former Latvian Credit Bank building in Doma
laukums (Riga Cathedral Square). After undergoing considerable renovation work, a
concert studio was opened there on 5 November 1948. A year later, now fully built,
the new Radio House entered service. Studio II was allocated for the rehearsals of
Teodors Kalnins’ 50 voice strong choir. The Maestro’s musical priorities remained the
same - he still favoured Latvian folksongs and the music of Latvian composers. In
an amazing and uncharacteristic display of slow-wittedness, Teodors Kalnins’ inter-
pretations were praised by Emllis Melngailis who, relatively speaking, was basking in
the glow of the admiration for him of the Soviet powers-that-be. However, the choir’s
output was also favourably received by the notoriously fastidious Alfreds Kalnins. A
new page in its music output was turned by Margeris Zarins, whose muse now blos-
somed through his energetic creation of multi-vocal compositions notable for their
elements of song and dance.
Ties of friendship with “big brother in the East” were strengthened. In 1947, the
Radio Choir recorded its first major work - Mozart’s Requiem, which was conducted
in the Aula Magna of the University of Latvia under the watchful eye of a guest from
Leningrad, Kurt Sanderling. In the concert studio during the winter of 1949, the Radio
Choir met other guests from Leningrad in the form of the Glinka State Academic
Capella and its head Georgi Dmitrievsky, a major authority in the circles of Russian
choir conductors. The choir’s repertoire was augmented with Tchaikovsky’s Mos-
cow, Rachmaninoff’s Spring, Prokofiev’s Alexander Nevsky, Shostakovich’s Song of
the Forests and Arutiunian’s Cantata of the Motherland, etc. In order for it not to
appear that the only music played was that composed by composers from fraternal
republics, we should also mention that the choir performed Jurjanu Andrejs’ work
“LTgojiet, ITksmojiet” {Rejoice at Ligo Festivities), Jazeps Vftols triad of contemporary
cantatas and classical European works Including Haydn’s Seasons and Beethoven’s
Symphony No. 9. A popular pastime was participating in staged opera concerts in
collaboration with conductors Arvlds Jansons, Dmitrijs Kujkovs and Teodors Vejs.
In order to hone the choir’s professionalism or perhaps simply for the purpose of
diversifying their working life, Teodors Kalnins formed a men’s double quartet and
ladies’ sextet, for which a particular role was envisaged, collaborating with the Radio
Kokle Ensemble, which was founded in 1950.
In the late 1940s, another requirement was increasingly clearly defined. While it was
clear that one could be entertained by the ornate and difficult arrangements of one of
Teodors Kalnins’ favourite composers Jekabs Graubins or sample refinement in the
form of Janis Zalitis’ intricately structured and beautiful songs; the people’s yearning
for musical art would, of course, best be satisfied by renditions of “the songs of the
Soviet masses and domestic life”. In all probability, most unwillingly, but in the spirit
of “a man’s got to do what a man’s got to do , Teodors Kalnins also became head
of the Radio’s Soviet song ensemble. This resulted in collaborations with singers
Vera Davidone, Leonarda Daine, Elvira Volsteine, Mikelis Fisers, Peteris Gravelis and
Aleksandrs Daskovs. New songs were composed by Jurijs Glagojevs, Janis Ozolins,
Margeris Zarins, Arvlds Zilinskis and others. An artist received 18 roubles per record-
ing. This was an altogether different sum of money from the 50 kapeikas or so-called
“straw money”, issued during concert trips as compensation for an overnight stay
in a rural club or barn.
In 1953, a decree was received from Moscow ordering the liquidation of the radio
choirs in the Baltic republics. Music historian Diana Albina recalls that Estonia fought
this decree and managed to save its radio choir, whereas Latvian officials immediate-
ly agreed, because given that all the Radio Choir did was to sing folksongs and req-
uiems, it surely would be better to activate the mass dissemination of song. Although
Indrikis Lemanis made the decision to disband the choir, it is most unlikely that this
step reflected his personal views. It is said that the esteemed writer was merely a
pawn in political games. Thus ended the second working life of the Radio Choir.
1957-1962
Perhaps the Radio House could survive without its choir, but Latvian composers
most certainly could not. Within the Composers’ Union, there were resounding calls
for the renewal of the laboratory of creative output in the form of a choir that was
invariably ready to help composers to ultimately clearly understand the nature of the
beast they had composed. Likewise, the editorial team responsible for music pro-
grammes was bleating that there was nobody to perform quality renditions of even
the eclectic songs of the peoples of the world. It was an era marked by a political
thaw. The national communists’ world of ideas was blossoming. The Latvian Radio
Choir was resurrected. In fact, it was born anew. It later transpired that, in the after-
math of the tomfoolery involving the Radio’s Soviet song ensemble, Teodors Kalnins
only agreed to form the choir on condition that, during its first year in operation, the
choir would exclusively sing Latvian folksongs and the music of Latvian composers.
According to Arnolds Birins, “Teodors Kalnins was courageous enough to speak out
and shrewd enough to know what to say. He had the support of Janis Ivanovs and
the whole editorial team. Everyone wanted the choir to be.”
Thus it came to pass that the Maestro once again found himself on the lookout
for singers. He no longer needed a microphone to distinguish the relative merits of
voices. Aina Ozolina recalls that when she applied to join the choir three months
later, there were still three free spots in the sopranos’ group for which there were 87
candidates. The audition took place in three stages and by the third stage, the only
candidates still in contention were an operetta soloist and Aina herself, “The tension
was considerable - I went to my apartment, said my prayers and set off the com-
petition. Evidently, soloist voices were less pleasurable to Teodors Kalnins than my
voice, which had received little training, but had no great vibrations.”
Arnolds Birins explains that he was not admitted to the State Choir, because his
voice was too straight. The State Choir was a choir of soloists. The Radio Choir, in
contrast, was an ensemble choir. Singers were admitted in the presence of a com-
mission. Among those listening were Imants Kokars, some of the choristers and,
possibly, the Artistic Head of the Radio, Janis Ivanovs. Everyone who was given a
job was also subjected to a trial period.
The working day lasted for four hours. The choir master worked for two of these.
His task was to warm up the choir and to teach it new songs. During the other two
hours, Teodors Kalnins went to work, preparing the performance. The new choir was
deemed ready to start work just a year after its formation. The first “live broadcast”
or concert took place on 1 March 1958. It lasted for 25 minutes. Two such concerts
had to be performed every week. During its first year in operation, the choir mastered
such a considerable repertoire that it could sing in live broadcasts for a whole month
without once repeating a single song,
Arnolds BTrips’ archive is unique: “There is an entry in my diary for every working day
and every hour. The conductor could spend two hours working on one bar in order
to refine how it should sound. At that time, only Teodors Kalnins and Leonids VIgners
knew how our greats had envisaged their songs.”
It was intensive work. The main requirements were intonation, diction and a bal-
anced ensemble. If at any stage the work became too tense, the conductor would
say, “Now you can talk among yourselves for five minutes”. After that, the work con-
tinued. There were no more reports of sewing or knitting during rehearsals. In con-
gratulating the choir on the occasion of the New Year, Teodors Kalnins would always
inform it of the special task awaiting it during the coming year, which could be work
on refining the ensemble, a certain dynamic gradation or some other assignment of
a challenging nature.
Having made its public debut in the Radio studio, it was now only one step to the
concert stage onto which the newly formed collective duly stepped on 18 December
1958. In the build-up to the USCP Congress, the Aula Magna of the University of
Latvia hosted a premiere performance of new works from 1958 by Latvia’s Soviet
composers in which the Radio Choir sang choir songs by Edmunds Goldsteins, Al-
donis Kalnips, Valters Kaminskis and KarlisTenne.
The next day, “RIgas Balss” (The Voice of Riga) published Viktors Sams’ article
“Jauno kora dzlesmu koncerta” (At the New Choir Song Concert), in which the au-
thor praised the choir’s “thorough and highly qualified work”. However, that which
was missed by the reviewer was duly noted by the every watchful and alert Soviet
functionaries. In early 1959, a question was published in the same publication “RIgas
Balss”, asking “Vai Radio koris tik nabadzlgs?” (Is the Radio Choir Really So Poor?)
The reason? It transpired that “Music lovers are perturbed by the motley appearance
of a choir that has reached a high artistic level. Throughout the Republic, you will not
find a single amateur collective that does not possess either a colourful folk costume
or some other identical uniform. Only the Radio Choir retains its status as an urchin
in this regard. Is it really the case that the Radio management can do nothing to
help?” It turned out that the management was in a position to help and, thus, the
choir finally received uniforms.
In March 1959, the famous Latvian musicologist 0|gerts GravTtis judged the per-
formances of three choirs during the Composers’ Congress Concert. First up was
347
the Teachers’ House male choir “Tevija (Fatherland) and Haralds Mednis. This was
followed by a performance by the State Academic Choir, which earned a critical barb
to the effect that (“Isn’t it about time that the [State] choir was bolstered with some
new talents?”). In contrast “the small Latvian SSR Radio mixed choir was praised as
a “professionally accomplished choir collective”. By small, the author was alluding to
the fact that, at that time, it contained “only” about 40 singers.
During Teodors Kalnins time, the atmosphere within the choir was friendly and mark-
edly Latvian, which gave the choristers the best sense of the music of Latvian com-
posers. If someone left the choir, then it was mainly down to personality quirks. There
was an infamous case involving a representative of the second group of sopranos,
who happened to be an informer. Everyone naturally knew that she was a messenger
of news. According to Arnolds Birins, “Nobody made a big fuss about it. However,
at some point, lies began spreading concerning the ladies. The two most powerful
choristers were not about to take this lying down and made their feelings on the sub-
ject perfectly clear. It was clear that a row was brewing. Head of Personnel Lazdins
(“a veteran of the front and a man of honour whom one could rely on”, recalled
Arnolds Birins) convened a meeting. There was a heated discussion In the red corner
and the truth of the matter was ascertained. Since the lady Informer was a close
associate of Indrikis Lemanis, the Radio Chairman also spoke at the meeting. He
stated that she was no villain and that she had once saved him from the politburo’s
snitches... However, when the lady eventually left the choir, the Chairman seemed
pretty satisfied to be rid of his “black angel”, remembers chorister Maris Pavasars.
The winter season of 1962 started as usual. Teodors Kalnins’ wife HermTne urged her
husband to quit his job with the Radio, which would have left him free to concentrate
on his lessons for conservatory students (he’d suffered a small heart attack during
the summer). “There’s no way I’m leaving the choir,” he replied, “Unless they drive
me out.”
On 16 October, the choir recorded a Mari folksong entitled, A Spring Day, arranged
by Yakov Eshpai. The following day, 17 October, a recording of another Mari folksong
The Mighty Oak was due to be performed. Teodors Kalnins arrived in the studio, took
off his jacket and placed his reading glasses over his walking glasses. Unexpectedly,
the doors opened, and some men in suits entered the studio. For a moment, Teodors
Kalnins froze. A chorister of many years standing, Zigrida Birite was of the opinion
that the scene had reminded the maestro of the days when his unashamedly national
disposition exposed him to the danger of repressions from the Cheka. However, it
transpired that the guests in the suits were representatives of the fraternal nation of
Romania, who were accompanied by the management of the Radio Committee and
the employees of the Philharmonic. Their choir demonstrated its talents by singing
two Mari folksong arrangements.
The guests departed. Teodors Kalnins raised his arm to signal that it was time to
draw breath, apparently glanced at the sheet of notes on the piano lid, before slump-
ing to the ground. Sometime later, two ambulances arrived. Nothing could be done.
At the age of 72 years, the conductor’s heart had stopped beating. On 20 October,
the choir accompanied its Master along the streets of Riga, which were overflowing
with people, to his final resting place at the Forest Cemetery.
1962-1963
From 1951 until Teodors Kalnins’ death, ever faithful at the side of the Maestro was
his choir master Imants Kokars, who referred to his work for the Radio as, “My
second conservatory”. The young man had virtually been adopted as an equal part-
ner. Of course, his duties were those commensurate with his youth, i.e. warming up
the choir and doing the “dirty work, but Imants Kokars’ name not only also graced
concert programmes, but also the odd Radio foundation recording.
In the aftermath of Teodors Kalnins’ death, everyone was convinced that Imants
Kokars would assume his mentor’s position. This was not to be. At that time, the
Chairman of the Radio Committee was Rihards Zandersons, an actor who frequently
played the role of Lenin, and as far as he was concerned, Imants Kokars’ candidacy
was unacceptable. There are various explanations for this - the happy-go-lucky life-
style of the still youthful conductor; his sharp and reckless language, and his unde-
sirable family ties (Imants’ twin brother Gido Kokars recalls being invited for several
uncomfortable conversations at important institutions at the time)... Imants Kokars
was offered the chance to continue working in his role as a choir master, which he
naturally declined. The choir was briefly led by Centis Krikis. The choristers recall
that the potential candidates included Juris Skrivers and Ansis Alberings. However,
on 1 August 1963,27 year old Edgars Racevskis was appointed as the Radio Choir’s
senior conductor and artistic head.
1963-1987
Arnolds Birins believes that the choir’s rapport with the new conductor was immedi-
ate. Racevskis sought the support of the choir straight away, formed a team, and did
not try to impose any radical new innovations. However, a long-standing chorister
and subsequent choir inspector, Janis Ratnieks adds that there was certain opposi-
tion from some of the old choristers. It is possible that some detected a desire on the
part of the “new broom” to professionalise the choir. On the one hand, It is amazing
that Teodors Kalnins achieved such a good result with singers, who could actually
be considered to be amateurs. On the other hand, a professional radio choir is suited
by singers that have undergone at least some singing training.
Edgars Racevskis had no desire to be a revolutionary who upset the apple cart.
He demonstrated respect for the choir’s regular visits to Teodors Kalnins’ widow
Hermlne, as well as for other traditions. The reorganisation of the choir took place
gradually and unobtrusively. The main problem he had to combat was shortness
of breath. While it was quite sufficient for singing folksongs, it was “too short”
for singing more drawn out opuses. Racevskis called on the assistance of vocal
teachers. The first to help was SkaidrTte Lepasepa, a singer from Teodors Kalnins’
time, who according to the conductor was a good professional who got on well
with the singers, Lepasepa would go on working until 1980. Her replacement was
the extravagant, impulsive Lithuanian Rita Treimane. At the same time, the Radio
Choir had already acquired a characteristic sound, which was testimony to Edgars
Racevskis’ creative signature.
The Maestro has no intention of playing down his contribution: “There are those that
laugh at the fact that I warm up the choir for 20 minutes. However, this is the only way
of building an obedient elastic instrument for yourself. Exercises with broad breath,
melody over octave and phraseological elements. This was the Radio Choir’s daily
routine - relentless exercise work before singing.” The Radio Choir became a flaw-
less instrument with stable intonation, especially so during the last decade of Edgars
Racevskis’ tenure as senior conductor.
When the conductor builds a choir himself, he has no need for a choir master. Edgars
Racevskis indirectly acknowledged that, to a certain extent, during his tenure this
position was maintained for formal reasons alone. His most successful collaboration
was with Leons Amolins. Before him, Juris Skriveris occupied the position for two
years, while for a brief three month stint, it was also held by Anna Kenina. In turn,
Leons Amolins was followed by Vitolds Rijnieks and Egils Kepitis, who was Teodors
Kalnins’ godson and composer Janis Kepitis’ son. Other names we see on the list of
choir masters are those of Arnls Paurs and Ivars Berzins. At first, the choir was very
forthcoming to Berzins, a promising young conductor who graduated from univer-
sity with distinction and for whom the magnificent soprano Zerména Heine-Vágnere
herself performed during his examination...
“I always had to be ready to step in front of the choir and work on a new composition,
even if I was informed of this just five minutes before the start of a rehearsal. This
could happen if the Maestro suddenly had to attend an urgent meeting or for some
other reason.” Successfully passing his assistant conductor’s examination with the
choir “Sindi putnu darzs” (The Sindi Bird Garden) in the winter of 1985 proved to be
a new creative dawn for Ivars Berzins who was undoubtedly better suited to this
independent and, at that time, revolutionary project than to his status as second
conductor to a State-subsidised official collective.
Upon taking over the reins of the choir in 1963, Edgars Racevskis assessed the situ-
ation with a cool mind. Summary: low salaries, no overseas trips and lots of work.
In time, the conductor ensured that the choir only had to work five days a week,
despite the fact that the law on artistic collectives then in force decreed a six day
working week (the violation of this regulation would later be used as one of the argu-
ments to tip the balance in favour of firing the impulsive and energetic Maestro). After
approximately 15 years of work, he also managed to achieve a pay rise. The State
Choir travelled abroad. Not long after, so did Ave So/, which was founded in 1969.
These choirs had no problems finding good singers. However, in time, the Radio
Choir would not only emerge into the daylight from its windowless and formal Radio I
studio, but would even occasionally make it outside - firstly beyond the Latvian SSR
and later beyond the borders of the USSR, even if it was only to the democratic and
fraternal nations of Germany or Poland.
A year after Teodors Kalnins’ death, the Radio Choir was already performing in his
name. Its first major public performance at the Composers’ Union’s plenary con-
cert In 1963 was favourably received. The music programme editorial team and its
head Diana Albina totally agreed with the young head of the choir that the tradition
nurtured during Teodors Kalnins’ time of making occasional appearances In public
should be maintained. In other words, the choir not only had to chew the micro-
phone, but it also had to lead an active concert life. In the mid-1960s, Jékabs Vitolins
came forth with the proposal to establish two monumental concert cycles, showcas-
ing Latvian choir music. In 1972, this initiative continued with 12 Latvian choir song
concerts. A popular and acoustically high quality concert venue was the Aula Magna
of the University of Latvia. A number of concerts were also held in the Hall of the
Academy of Sciences, which, in the opinion of Edgars Racevskis, left much to be
desired from the perspective of acoustics.
At the start of this period, it was a sorry state of affairs as far as uniforms were con-
cerned. The situation changed when Teodors Kalnins’ Radio and Television Choir
underwent a makeover and became Teodors Kalnins’ Television and Radio Choir.
Twice a month, the choir’s concerts were broadcast on television. The need to look
good was clear. New dresses and colourful jackets appeared. In every sense, televi-
sion was more important than radio. This reflected a covert agreement between of-
ficials. By the by, the choir not only took part in TV concerts, but also TV productions
including the very first Latvian opera - Janis Ozols’ “Spoku stunda” (Ghost Hour) and
Margeris Zarins’ “Vecais Taizels” (Old Taizel).
“At that time, the demands on singers were exacting,” recalls Janis Ratnieks. Every
(48
year, internal auditions had to be organised - first of all, each singer would first sing
solo and then in a quartet. Each singer’s range and musical memory were put to the
test. There was an equally rigid requirement to stick to the set work plan of two “live”
broadcasts a week. The song rotation period was three months. If you had sung it
today, you would not get to sing it again during this quarter. There was a special
book in which every song sung was carefully recorded. Heaven forbid that any of
the songs were repeated...
Diana Aibina recalls how thoroughly song lyrics were vetted. The very same “Muzam
zili” (Eternally Blue), which Ivanovs had played in 1944 as the song that marked the
resumption of broadcasting, was now completely banned. The doubts of the pow-
ers-that-be were also aroused by Darzins’ “Cianas berni” (The Children of Sion) (who
are these unhappy souls sitting here and crying?.1). The same applied to Barisons’
“BrTnumzeme” (Wonderland). What was this wonderland that appeared (yet again!)
to us miserable folk? Melngailis’ “Latgales laikakarta” (Year’s Cycle in Latgale) was
undesirable, because it contained a reference to Christmas. And so on... It was only
permissible to sing Jurjanu Andrejs’ cantata “Tevijai” (7o the Fatherland) accompa-
nied by its poetic adaptation by Ziedonis Purvs whose mid-section proclaimed “Tev,
tevija darga, tev muzam dzTvot, tev muzTgi but” (“You, dearest fatherland, may you
live forever, may you exist forever”).
Chorister Aina Ozolina recalls an event in 1981. The Radio Choir was preparing for
Jurjans’ 125th anniversary. At first, it sang the original lyrics of the cantata in a most
uplifting manner, before having to learn it anew. In May, Kuldiga hosted the Song
Days. In the evening, there was a concert in Skrunda consisting of a wonderful
repertoire with no odes to the powers-that-be. There were not too many people in
attendance, but the public was authentic. The programme concluded with a rendi-
tion of Jurjanu Andrejs’ “Tevijai”. The solo was sung by Mara Krenberga. “Edzus
[Racevskis] nodded to Mara, and suddenly I heard Mara singing, “Kungs Dievs, Tevi
ludzam” (“Lord God, we pray to Thee”). She was not singing, but praying. There
were times when it seemed that her voice would crack. I could already sense myself
reaching the kind of emotional threshold that is taboo for a chorister. I raised my eyes
towards Edzus, I could see that his eyes were full of tears. I looked askance and saw
one person crying and now I could feel tears rolling down my cheeks. How on earth
did we ever manage to sing it to the end? It was a great, great prayer.”
The Radio Choir was well trained. It was vocally adroit and had a keen eye for
reading notes. It could “jump” expromptum into any situation. It could get a call
from the film studio - we have to wrap up a film tomorrow, but have not recorded
the music; can the Radio Choir do this job overnight? Certainly, the Radio Choir can
do it. We were the fire brigade,” says Edgars Racevskis, “In situations in which the
planning changed at the last moment, we were tossed from one plan to another, but
the choir could always adapt to any situation.”
Once a year, the Moscow sound recording brigade visited Riga. At these times, the
choir relocated to the Reformed Church, which was home to the sound recording
firm Melodija, and where it could not stop singing. When the hour allocated for the
broadcast ended, the choir’s colleagues from Moscow pleaded for encores. They
paid well for the privilege. Another significant factor was the contrast between the
somewhat dry acoustics and outdated equipment of the Latvian Radio I studio and
the clear acoustics and modern technical equipment provided by Melodija. Edgars
Racevskis recalls that he was dissatisfied with the work of the Radio’s sound editors:
“In the studio, the choir was a true choir-Impressive and full-bodied. However, upon
entering the sound editor’s room to listen, it seemed as if somebody was singing into
a telephone receiver.” The situation changed with the installation of a new control
panel. Sound editor Karlis Rutentals quickly learned how to get the best out of it.
He found a new solution to the acoustic quirks of Studio I in the form of the best
“combination of control panel buttons”, producing a natural “echo” for the room.
Two outstanding productions marked Edgars Racevskis’ 50th anniversary year,
which underlined the choir’s phenomenal creative strength and flawless, intensive
and characteristic sound. On 14 April 1986, the Aula Magna of the University re-
sounded to Jekabs Graubins’ vocally dramatic poem “Atraitnes dels” (The Widow’s
Son). In the same hall on 27 September, 47 years after its composition, Peteris Ba-
risons’ outstanding and extremely difficult cantata “Naves sala” (The Isle of Death)
was first performed in public in its original version. In January 1987, Karlis Rutentals
would record “Atraitnes dels” in the Radio I studio. However, by May 1987, the cir-
cumstances had taken shape, which would culminate in Edgars Racevskis’ resigna-
tion from his job with Latvian Radio.
As always in such cases, there are various versions regarding what actually hap-
pened. The Maestro himself believed that someone within the Radio House had too
much authority at that point. There have been stories that the conductor himself was
no longer putting as much effort and commitment into his work as before. However,
recordings and the memories of other choristers suggest that, at that time, the Radio
Choir’s quality was at its zenith.
In early May, a meeting was held, which was attended by the Radio’s artistic and
administrative management, as well as choristers. Some of them complained about
the conductor’s working style, A pile of anonymous, unpleasant questions lay on the
piano. “I feel genuinely offended. There was no appreciation for any of the choir’s
achievements. In the end, I decided that I had to tender my resignation. I’d had
enough of arguing with sound editors and resolving planning problems... With my
departure from the Radio, other opportunities opened up in my life,” said Edgars
Racevskis.
1987-1992
The Latvian Radio Choir’s new artistic head was chosen by Edgars Racevskis him-
self and approved by Raimonds Pauls, then Editor-in-Chief of the editorial team re-
sponsible for music programmes. According to Juris Kjavins, “I think I was invited,
because I had experience working in radio as a sound editor, I’d had a long-standing
and good working relationship with Edgars Racevskis and I knew the choir well.”
For the post of second conductor, Juris Klavins recruited 25 year old Sigvards Kjava.
The previous year, Sigvards had won 1st place in the Shostakovich Conductors’
Competition in Leningrad. Although his experience was minimal, his approach was
based on the conviction that to be a trainee in such a position meant having the best
possible opportunity to learn to understand the meaning of the term ‘professional
choir’. In Sigvards’ opinion, the main challenge was to establish the Radio Choir
as a prestigious collective. However, this did not mean that the choir’s standing at
the time was anonymous. Instead, he was alluding to a desire to raise the choir’s
reputation and through this to achieve a situation in which every singer was 100 per
cent proud of singing in this particular collective. This was an understandable, albeit
metaphysical, aim, which would come to fruition a decade later.
Juris Klavins remembers the five years he spent in the position as being very interest-
ing - it was the pre-awakening period and the first years of independence offered a
huge number of opportunities. The possibility now arose to sing the music of those
composers who had been undesirable up to that point. Among those now appearing
in the repertoire were Adolfs Abele, Alfreds Feils, Bruno Skulte, as well as Jazeps
Vitols and his cantatas with biblical motifs... Juris Kjavins set about investigating the
library and found notes that had been stored in bags. At the Museum of the History
of Riga and Navigation, Sigvards Kjava unearthed the previously lost choral songs
of Lucija Garuta and Jazeps Vitols. There was a treasure trove of revelations for
choristers and listeners alike.
The first concert conducted by both newly recruited conductors took place on 30
January 1988. The choir, still known as Teodors Kalnins’ Television and Radio Choir,
performed In the University of Latvia’s Great Hall. The programme included Vitols
Dievozolu trijotne” (Trio of Godly Oaks), Darzins’ “Cianas berni” (The Children of
Sion), Dambis’ “Dzelzu vardi” (Words of Iron), as well as John Rutter’s Requiem,
a typical example of English sacral music, which back then in Latvia must have
seemed akin to a harbinger of spring. Musicologist Guntars Pupa praised both Ju-
ris Kjavins experienced and sure touch and Sigvards Kjava’s sensitive and spiritual
gestures. The choir’s existing qualities were now augmented by more vivid manifes-
tations of emotion, as well as openness and dynamism. Raimonds Pauls was ap-
preciative of these accomplishments and noted that this was the expected outcome.
That same year, at Christmas, the choir gave a concert at the Old St Gertrude’s
Church in Riga in which the programme included the previously banned Feils, along
with Barisons’ controversial “BrTnumzeme” (Wonderland), Helmers Pavasars and
Jekabs Poruks. it was also the Radio Choir’s duty to make an official recording of
the National Anthem, which it did in the Aula Magna of the University of Latvia with
orchestra and organ. The conductor of this recording, Sigvards Kjava would later
receive an award for the most downloaded recording.
The choir’s work proceeded smoothly, but there was a nagging feeling that it needed
some great triumph to propel it not only onwards, but also upwards. A major impetus
compelling it to expand its horizons proved to be the international Radio Choir’s
Festival Riga’90, which took place from 28 November to 1 December. Among the
participants in the festival were the Finnish Radio Chamber Choir, the Lithuanian
Radio and Television Choir, the Estonian Television and Radio Choir, as well as both
instigators of this international forum: the Swedish Radio Choir and the Latvian Ra-
dio and Television Teodors Kalnins’ Choir. Sigvards Kjava recalls that, “Meeting up
with our professional colleagues, in an atmosphere not entirely devoid of competitive
spirit, prompted us to reconsider our values. Back then, the varying professional
cultures and the differences between them clearly manifested themselves.” With
reflection came hope. An undefined dream that there would come a time when the
Latvian Radio Choir would be one of Europe’s best... and most... Over a decade later,
this would come to pass.
In January 1991, the Radio House was invaded by OMON. Juris Kjavins recalls how
notes and tapes of recordings were saved. When the storms passed, Sigvards Kjava
conceived the idea of organising a concert cycle entitled “Satlksanas muzika” (Meet-
ing in Music). The nucleus for its fulfilment was the Latvian Radio Choir, around
which gathered a number of the most distinguished chamber choirs of the day, each
pursuing their own trajectory. These included “Sindi putnu darzs” (The Sindi Bird
Garden), “Versija” and Sacrum (sustained by the enterprising businessman Vadim
Makarenko and briefly known as Consum), as well as the Academy of Music’s Mixed
Choir and Riga Cathedral Boys’ Choir. This was the so-called Bruckner Action, which
not only presented Anton Bruckner’s stunning beautiful and impressive Mass in E
minor (sung by the amalgamated choir), but also posed the question of what should
professional choir culture be like? At that time, the typical forces dictating the life of
a choir were uncertainty, a desire for educational reform, total ignorance of what the
future held and choristers regularly jumping ship from one choir to another. Around
this time, a large number of choristers migrated from the Radio Choir to the State
Choir and back again, not just once, but on several occasions. The direction of the
wind prompting these switches was not even dictated by larger or smaller salaries,
but rather by artistic success.
After the August putsch had been consigned to the scarier annals of history,
thoughts of Meeting in Music gathered momentum. In 1992, the choir performed
Alfred Schnittke’s Requiem (in the Aula Magna of the University set up by Ansis
Rutentals), Arvo Part s Te Deum (in Riga St Peter’s Church, which had almost burned
down by the stage director Peteris Petersons), Mozart’s Requiem in memory of Juris
Podnieks, as well as a number of other impressive concerts. Meanwhile, the Radio
Choir was once again in a state of flux. There was a change in the number of chor-
isters, as well as in the choir’s artistic leadership. Juris Klavins decreed, “A new era
needs a new broom.” On 30 July 1992, Slgvards Klava was appointed as the choir’s
artistic head and senior conductor.
1992-2010
Having trained the Festival Choir, i.e. the “Olympic team” of the best choir singers
of the day, for the Bruckner Action and other events in the Meeting in Music concert
cycle, Sigvards Kjava concluded that it was not possible to achieve the ideal choir
sound by organising campaigns. Instead, a slow and deliberate path was required.
Accordingly, immediately after his confirmation in his new position, Sigvards decided
to recruit a new colleague in the person of Kaspars Putnins. This occurred after a
concert given by the “Balsis” {Voices) choir, in which Kaspars’ performance was
entirely convincing and made the decision to offer him new creative opportunities a
simple one. “I called him from my house on Nicgales Street. I can remember what I
said to Kaspars word for word. It was a long conversation,” says Sigvards Kjava. This
conversation has been ongoing for the past 18 years.
Having become the Radio Choir’s leaders, Sigvards and Kaspars maintained the
choir’s excellent sound by systematically testing the singers’ abilities, i.e. by organ-
ising auditions both solo and in quartets. They soon realised that although this ap-
proach would enable them to maintain a certain level of quality, it was not really
getting the choir anywhere. The belief that gradually took root was that the choir was
not four, more or less, harmonious vocal groups, but rather a group of personalities.
It is hard to imagine how many hours and days have been spent debating how the
Latvian Radio Choir should sound. Should it be structured as a smaller opera chorus
where the sound is harmonised according to a single standard? Should a natural
singing manner be maintained? And if so, then how? Does the choir need a vocal
coach? And then there is the eternal question of the non-vibrato singing style that
has been practiced in Latvia for decades. How should this phenomenon be judged
and how has it influenced our internal singing culture?
Four years passed that were dominated by reflection and discussions. In 1995, the
Ministry of Finance announced that it could no longer afford to pay all the Radio’s
employees their salaries. Against this background, the existential question arose of
whether there was a need for the Radio Choir and if so, then why? The viewpoint
of the Radio’s management was that maintaining such a choir was not one of the
Radio’s basic operating tasks. The same fate confronted the Radio Big Band. Ulti-
mately, the choir survived, whereas the big band is dissolved. With his characteristic
enthusiasm, Arnolds Birins explains that, “One night, Sigvards, Kaspars and Guntars
resolved the fate of the Radio Choir.
The solution was found in the same house on NTcgaies Street. The size of the choir
was reduced to 24 singers and an operating model was conceived, which has func-
tioned right through to the present day. The basis for everything was a classical
chamber choir. For a while it was hoped that, alongside this core line-up and the
Latvian Radio Choir group formed in 1994 and led by Kaspars Putnins, there would
be an opportunity to occasionally (or regularly) convene a greater line-up, in order
to perform grand vocal instrumental opuses. And this was what happened, albeit
extremely rarely. At the time, a lot of people believed that this reduction in the size
of the choir was a crime against Latvian choir music. At the same time, it is arguable
that this draconian step precipitated the establishment of the most conducive plat-
form for the goal-oriented growth of the Radio Choir as we know it today. Sigvards
says that “Everything fell into place. Instead of trying to form the choir’s nucleus, the
singers themselves showed us the way. It was each person’s natural inner talent that
came to the fore, not some previously conceived scheme. These same people influ-
enced the relationship model, which it would be impossible for any other collective
to clone. The scheme of relationships and music-making process is very personal.”
During the summer months, the Radio Choir continued to convene in greater num-
bers when the concert halls of Southern Europe were opened to this wonderful ex-
Soviet multi-voice body. Even earlier, on one such journey - during the summer of
1992 - Sigvards and Kaspars concluded that the choir needed a director well-suited
to the new professional climate. The logical candidate was Guntars Kirsis, who was
then working at the Traditional Arts Centre. In the early 1990s, agents representing
the European music scene began to visit Latvia (and other newly independent coun-
tries). Among them were Mr. Loomis, a sound recording producer from Switzerland,
and Alain Findling, who opened the choir’s path to Southern Europe, including to the
Radio France festival in Montpellier, where phenomenally the Latvian Radio Choir
has been an ever-present and warmly received annual participant right through the
present day (with the sole exception of the summer of 2010).
At first, these trips were actually comparable to trances lasting several days in
clapped out Hungarian Ikarus buses. This was compensated, for example, by the
opportunity to sing Verdi’s Requiem conducted by Jansug Kakhidze under the
Grande Arche in the La Défense district of Paris. When the choir decided that it no
longer wished to travel by bus, the link with Findling lapsed. The choir continued to
open the doors to Europe with a state anniversary concert in an embassy here and a
tour with Sweden’s Rikskonserter there.
The Latvian Radio Choir got its first genuine view of the world around 2005 when
the founders of the European professional choir association TENSO turned their at-
tention to the Baltics and decided to approach the Latvian Radio Choir. A conversa-
tion at the Hilton Hotel in Luxembourg led to the Latvian Radio Choir moving in the
same circles as the RIAS Chamber Choir, the French choir Accentus, the Cappella
Amsterdam, as well as Det Norske Solistkor, Musicatreize and DR Vokalensemblet.
Suddenly, everything began to happen more quickly.
Around this time, the Latvian Radio Choir managed to avoid falling into a tempting
trap. “We didn’t hit the rocks by adopting the European status of a uniform stand-
ard collective. This was a possibility at the time when the choir singing paradigm
espoused by the famous Swedish choir leader Eric Ericson was greatly in vogue.
The soundscape became the same for everyone everywhere with one and the same
standards, and one and the same vocal approach... We managed to retain our indi-
viduality, because together with Kaspars we have always been able to have a proper
discussion before making decisions. It is popularly believed that we often have op-
posing viewpoints. Unfortunately, there’s no spicy story to be uncovered here. We
succeeded in identifying what was happening in the world pretty early and were able
to respond, enabling us to retain our autonomy.” More often than not, elsewhere in
the world, the notion of two conductors for a single choir is considered quaint. Clear-
ly, other professional choirs have none and have to make do with invited maestros.
The Latvian Radio Choir got a flavour of global trends at festivals including Klang-
spuren, La Música, Ultima, Baltic Sea Festival and at the Venice Biennale, etc. as
well as in concert halls as prestigious Amsterdam s Concertgebouw and Muziekge-
bouw, Konzerthaus Berlin, Paris’ Théâtre des Champs-Élysées and Dresden’s Frau-
enkirche, etc. The list of recording companies was augmented by BIS, GB Records,
Ondine and Naïve, etc.
Just a few years earlier, it would have been hard to imagine a European international
music festival where any of the organisers would be interested in any Latvian com-
poser other than Pëteris Vasks. Now the situation had changed. To a certain extent,
the launch pad for this was the great success of the Radio Choir’s recordings in
the UNESCO-organised competition, the International ROSTRUM for Composers: in
2005,1st place in the General Category was awarded to Martins Vi|ums’ Le temps
scintille , in 2006,1st place in the Young Composers’ Category (for composers up
to the age of 30 years) went to Ériks Esenvalds’ Légende de la femme emmurée,
while in 2010 1st place in the Young Composers Competition was won by Kristaps
Petersons for his composition “Mijkrêsja dziedâjumi” (Twilight Chants).
Alongside the three aforementioned composers, other names among the Radio
Choir’s list of collaborators that are definitely worth mentioning include the unpre-
dictable high priest of ideas, Juris Abois, the witty solver of electronic equations Girts
Biss; the perennial pursuer of beauty, Andris Dzenltis; the wizard and sculptor of
sound, Voldemars Johansons; the guardian of the Spanish-Grecian secret, Gundega
Ômite; the poet of the joy of jasmines and twilight in November, Arturs Maskats, and,
last but not least, that frequent witness to the clash between the forces of light and
darkness, Peteris Vasks.
Thanks to the Radio Choir, there was a revival of Maija Einfelde’s creative spirit - in
1996, a performance by a choir group led by Kaspars Putnins of her composition
“Pie zemes tàlàs” (Af the Edge of the Earth) won 1st place in the Barlow Composi-
tion Competition in the United States, and since then, the creative paths of both
Maija and the Radio Choir have crossed more than once, in turn, Santa Ratniece’s
visions and completely new take on contemporary choir music have been integral
in helping the Radio Choir to successfully define its current raison d être with such
marked originality.
The Latvian Radio Choir has received the Latvian State’s highest award in music, the
Grand Music Award six times: in 2010 as the musical body of the year, in 2007 for its
concert “Nakts lügsana” (Nocturnal Prayer - Concert of the Year); in 2005 for its con-
cert activity in Latvia and promotion of Latvian choir music overseas; in 2004 for its
performances of the works of Latvian composers under the leadership of Sigvards
Kjava and Kaspars Putnins; in 2000 for concert programmes dedicated to the choir’s
60th anniversary and contribution to encouraging new works by Latvian composers,
and in 1994 for its concert programmes during the course of that year.
Orests Silabriedis.
English translation by Jànis Frisvalds
Bayerische
Staatsbibliothek
München
V
|
| any_adam_object | 1 |
| author | Šarkovska-Liepiņa, Ilze Rubeze, Maruta Silabriedis, Orests |
| author_facet | Šarkovska-Liepiņa, Ilze Rubeze, Maruta Silabriedis, Orests |
| author_role | aut aut aut |
| author_sort | Šarkovska-Liepiņa, Ilze |
| author_variant | i š l išl m r mr o s os |
| building | Verbundindex |
| bvnumber | BV044317929 |
| contents | Englische Zusammenfassung |
| ctrlnum | (OCoLC)1011392409 (DE-599)BVBBV044317929 |
| era | Geschichte 1940-2010 gnd |
| era_facet | Geschichte 1940-2010 |
| format | Book |
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Ilze Šarkovska-Liepiņa ir apskatījusi periodu no 1940.-1962. gadam, savukārt Orests Silabriedis - no 1963.gada līdz mūsdienām. 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| genre | (DE-588)4145395-5 Bildband gnd-content |
| genre_facet | Bildband |
| id | DE-604.BV044317929 |
| illustrated | Illustrated |
| indexdate | 2024-07-10T07:49:36Z |
| institution | BVB |
| isbn | 9789934191060 |
| language | Latvian |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-029721458 |
| oclc_num | 1011392409 |
| open_access_boolean | |
| owner | DE-12 |
| owner_facet | DE-12 |
| physical | 350 Seiten Porträts, Faksimiles |
| publishDate | 2017 |
| publishDateSearch | 2017 |
| publishDateSort | 2017 |
| publisher | VSIA "Latvijas Koncerti" |
| record_format | marc |
| spelling | Latvijas Radio koris Fakti. Atmiņas. Attēli tekstu autori: Ize Šarkovska-Liepiņa, Maruta Rubeze, Orests Silabriedis Rīga VSIA "Latvijas Koncerti" 2017 350 Seiten Porträts, Faksimiles txt rdacontent sti rdacontent n rdamedia nc rdacarrier Englische Zusammenfassung Šis ir apjomīgs mēģinājums verbāli restaurēt Radio kora skanējumu vēsturi grāmatā. Ilze Šarkovska-Liepiņa ir apskatījusi periodu no 1940.-1962. gadam, savukārt Orests Silabriedis - no 1963.gada līdz mūsdienām. Grāmatā ir iekļauts ārkārtīgi bagāts vizuālais materiāls, nobeigumā - sarunas ar Latvijas Radio kora vadītājiem Sigvardu Kļavu un Kasparu Putniņu. Latvijas Radio Koris (DE-588)5525817-7 gnd rswk-swf Geschichte 1940-2010 gnd rswk-swf (DE-588)4145395-5 Bildband gnd-content Latvijas Radio Koris (DE-588)5525817-7 b Geschichte 1940-2010 z DE-604 Šarkovska-Liepiņa, Ilze aut Rubeze, Maruta aut Silabriedis, Orests aut Digitalisierung BSB München 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=029721458&sequence=000004&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB München 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=029721458&sequence=000005&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Register // Personenregister Digitalisierung BSB München 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=029721458&sequence=000006&line_number=0003&func_code=DB_RECORDS&service_type=MEDIA Abstract |
| spellingShingle | Šarkovska-Liepiņa, Ilze Rubeze, Maruta Silabriedis, Orests Latvijas Radio koris Fakti. Atmiņas. Attēli Englische Zusammenfassung Latvijas Radio Koris (DE-588)5525817-7 gnd |
| subject_GND | (DE-588)5525817-7 (DE-588)4145395-5 |
| title | Latvijas Radio koris Fakti. Atmiņas. Attēli |
| title_auth | Latvijas Radio koris Fakti. Atmiņas. Attēli |
| title_exact_search | Latvijas Radio koris Fakti. Atmiņas. Attēli |
| title_full | Latvijas Radio koris Fakti. Atmiņas. Attēli tekstu autori: Ize Šarkovska-Liepiņa, Maruta Rubeze, Orests Silabriedis |
| title_fullStr | Latvijas Radio koris Fakti. Atmiņas. Attēli tekstu autori: Ize Šarkovska-Liepiņa, Maruta Rubeze, Orests Silabriedis |
| title_full_unstemmed | Latvijas Radio koris Fakti. Atmiņas. Attēli tekstu autori: Ize Šarkovska-Liepiņa, Maruta Rubeze, Orests Silabriedis |
| title_short | Latvijas Radio koris |
| title_sort | latvijas radio koris fakti atminas atteli |
| title_sub | Fakti. Atmiņas. Attēli |
| topic | Latvijas Radio Koris (DE-588)5525817-7 gnd |
| topic_facet | Latvijas Radio Koris Bildband |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=029721458&sequence=000004&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=029721458&sequence=000005&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=029721458&sequence=000006&line_number=0003&func_code=DB_RECORDS&service_type=MEDIA |
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