J. JONÂNE SACRED MUSIC - A FORBIDDEN FRUIT UDK 783(474.3) DOI: 10.4312/mz.50.2.127-135 Julija Jonane Jazeps Vitols Latvian Academy of Music, Department of Musicology Latvijska akademija za glasbo Jazepsa Vitolsa, Oddelek za muzikologijo Sacred Music - a Forbidden Fruit: Musical and Non-musical Ways of Survival Duhovna glasba - prepovedani sad: Glasbeni in neglasbeni načini preživetja Prejeto: 2. januar 2013 Sprejeto: 27. marec 2013 Ključne besede: zgodovina duhovne glasbe, latvijska glasba, sovjetska glasba Izvleček Prepoved duhovne glasbe v obdobju sovjetske Lat-vije je sprožila pojav »prepovedanega sadu«. Prikrito in skrivaj je bila kršena na različne načine in v nenavadnih oblikah, med katerimi sta najpomembnejši prenos v posvetne žanre in uporaba skrajnih kompozicijskih sredstev. Ponovno branje besedil bo pripomoglo k podrobnejšemu razumevanju razvoja duhovne glasbe v Latviji in drugih deželah. Received: 2nd January 2013 Accepted: 27th March 2013 Keywords: Sacred music history, Latvian music, Soviet music Abstract Prohibition of sacred music during the period of Soviet Latvia was exerted like a syndrome of forbidden fruit, that was breached in the underground way and developed in secret and complicated forms, in which the central is secular music genres' and radical musical language's using. A re-reading of texts will lead to a more nuanced understanding of the development of sacred music in Latvia and other countries. The development of sacred music can be characterized as a societal phenomenon, as well as a phenomenon within the flow of time — it reveals itself as a social manifestation over the course of time. In the creation of professional sacred music, several distinct factors play an important role. The first and foremost of these is the religiousness of the composer, which is usually the reason behind the creation of a sacred opus. A second meaningful factor is the level of interest held by the performers and listeners, which in a broader and deeper sense can be considered as the religiousness of society. Because of it a sacred composition lives and takes effect in time and place, not just as a score written on paper. The unifying prerequisite of these two factors is the loyalty of the social system that enables religious music to survive and develop within a nation. 127 MUZIKOLOSKI ZBORNIK • MUSICOLOGICAL ANNUAL L/2 Sacred music in denominationally inhomogeneous Latvia exists for nearly 140 years. The beginning of its formation dates back to the last three decades of the 19th century. Upon evaluating the results of compiled facts and analysis in the historical overview, one can see three most significant stages of development in Latvian religious music: The first period is slow, smooth stage of sacred music's development that begins at the end of the 19th century and lasts to the 1930's. This time is marked by appearance of religious genres in professional Latvian music. The most important sacred genres gradually entry into the output of the first Latvian composers (prayers, hymns, psalms, cantatas and oratorios), that reach the first peak of achievement in the works of almost all composers of this time. Significantly, that all musicians who lived and worked at the end of the 19th and the beginning of the 20th century (among them composers, conductors, organists, teachers and workshop leaders) belonged to the Evangelical Lutheran Church. And this affiliation has defined the number of sacred genres. The language of sacred music practically does not differ from that of secular music. However, in religious music an especial expression is formed, which might be called religious mood, piousness and exaltation, which is manifested mostly in sweet and sentimental sounds, elegiac expressions or opposite to that - in hymn-like or pathetic character. This religious sweet mood is diversified by different composition in apocalyptic sense. Practically all of them were written in time of about 1905, 1917 or 19391940 - during those years Latvians fought for independence or felt the approach of World Wars. The second period lasts from 1940's to 1980's and essentially marks a situation of crisis. The existence of religious music takes place outside Latvia's boundaries. Religious moods are expressed within territory of Latvia in a disguised way or with compositions that are revealed fully only in the next historical stage. And the third period of development of the sacred music in Latvia begins at the end of the 20th century - and lasts until nowadays. This is a time of rapid quantitative and qualitative development. Latvian sacred music quickly emerges as a leading realm after long forgotten and forbidden years. Included are genres from the first stage of development, and others, especially canonical genres of the Roman Catholic and Russian Orthodox Church. At first, almost all composers pursue sacred music in some kind of fashion style, but later (at the beginning of the 21st century) composers which write sacred music are less, notwithstanding they have found in this sphere their musical language and mission. The stages of religious music history correspond to another history of music development - they are determined to a large extent by history itself. It must be noted that the second and third stages of development of religious music contrast dramatically, because the ideology and mood at the time left an extremely different impression. In the first case - in the second period - the survival of sacred music with modest possibilities. And the third period has very rapid, almost explosive character of development. In this way, current guidelines in the development of Latvian sacred music are generally equal to those of the world's religious music tendencies (both in terms of genre functionality and musical expression), having been achieved gradually as a re- 128 J. JONÂNE SACRED MUSIC - A FORBIDDEN FRUIT suit of non-prohibitional evolution. Also the forgetting and ignoring of religious music during Soviet times is a sign that this sphere within the general cultural context is not self-sufficient, but rather an indicator of the society, national awareness and other situ-ational conditions. But, accordingly to the object of research, I focus on the second period of sacred music development in Latvia. Since 1944 Latvian culture, comprising that of music, underwent some kind of not only geographical, but also thematic decomposition. In other words, music developed within two separate realms or territories, which were created by composers, who lived in the territory of Soviet Latvia, and those composers, who owing to the political situation in 1944 had immigrated to other countries. This fact directly affected the state of sacred music. It largely owes its deficit has offset by the composers in exile, most of whom had found their refuge and work under the auspice of churches in the more democratic countries (included Australia, Canada, Germany, Great Britain, Sweden, United States of America etc.). Actually, every composer who lived abroad, feeling homesick, longing for relief, shelter and peace, seeking for some kind of eternal homeland and refuge, focused on sacred music genres and themes. Prohibition of sacred music in the territory of Soviet Latvia has achieved a syndrome of forbidden fruit. Being neither composed, nor performed, this particular music sphere theoretically was missing in Latvian music culture under Soviets, but not practically. The prohibition of the sacred music did not mean ignoring this sphere at all. In the 60s and the 70s of 20th century this resulted in various ways of non-compliance to the above prohibition which were effected in the most disguised and inconspicuous forms, through the presenting secular music genres alongside with radical and modern language of music, or contrariwise - creating music in very simple way. However, to trace these elements at the period in question one had to be very competent in the field of music. It is no secret that there is a number of ways to make secular music sounds sacred. Re-reading of texts both musical and non-musical, associated with these ways, will definitely provide for a more accurate and nuanced understanding of the development of sacred music in Latvia and other countries at the time when owing to all kinds of religion being persecuted, the sphere of sacred music was considered undesirable. First of all, the deficiency of religiousness was substituted by such universal and in Soviet System's proposed categories and persons like art, motherland, work and peace, Lenin, Stalin etc. Such were the particular ethic and humanistic values, which were most cultivated, adored and glorified in those long-ago days. Nowadays some compositions from this period are still popular because of their musicality and emotionality and thereby transcend both the epoch and regime. For example, in 1970 Imants Kalnins (*1941), a popular Latvian composer, wrote a song for mixed choir To Lenin. This composition was very popular during the Soviet time -owing to its patriotism, emotional straightforwardness and the lyrics by very popular poet in Latvia - Imants Ziedonis (1933-2013) as well. In such a way a very intense emotional directness of the above verses sacralized and glorified the image of the leader of the Communistic Party, this man. At the very end of this song after the final cadence 129 MUZIKOLOSKI ZBORNIK • MUSICOLOGICAL ANNUAL L/2 we can see and hear additional phrase with word which makes some kind of mantra "Lenin! Lenin! Lenin!" (see Example 1) and can be perceived as sacral "Amen! Amen! Amen!". Also the title To Lenin was selected to make this song popular, to let it be sung during the National Song Festivals as well as in every patriotic concert and meeting. Poetry has made an impressive musical input in the patriotic anthem-like song form with elements of march, unified rhythmical mods and block chord texture. Example 1: Imants Kalninš: To Lenin. 130 J. JONÂNE SACRED MUSIC - A FORBIDDEN FRUIT Therefore, when Latvia regained independence, this song despite of the altered political situation has still remained recognized and popular. Only now its title has been changed. Nowadays the above song is called Shoots because of the introductory wording: Shoots get rooted in the stone and it cracks. And the white lightening is born into the air of thunder. And a valiant man is climbing in the higher, There is victorious word in his mouth: Lenin! Lenin! Lenin! Nowadays this composition has acquired some kind of halation; hence one can deduce that it has been to some extent sacralized. Fifty years of the Soviet period have threatened not only sacred music, but also the whole Latvian culture in general, including folklore, traditions and language. To preserve it Latvian artists tried to do their utmost, referring to such means as the speech of Aesop. The use of Aesop's speech or, in other words, the hidden subtext reveals the true idea of the particular composition or other creation of art, which is otherwise artistically disguised and encrypted. Thus, only competent and prepared listeners can understand the true idea of the musical setting. This issue was the object of research by Latvian and Jewish musicologist Joachim Braun (1929-2013)1. But now we use this notion very frequently. In such a way alongside with the ideological slogan of the Communistic Party the composer also focuses on such notions as freedom, independence and national identity. A bright example of Aesop's speech is found in the score of the nocturne Ir tikai nakts/It's Only the Night by Romualds Jermaks (*1931) that was composed in 1968. This opus is dedicated to J. S. Bach and is full of allusion of his stylistic. However, in generally idyllic texture the Protestant Church chorale Wer nur den lieben Gott lasst walten is entwined (in English - What makes God the only Lord in Heaven; Example 2). Wer nur den lieben Gott la esst walten u i. „ . I . tJ -J- l.Wcr mir Jeu 9 ik'n wird