Unfortunately, it is difficult to describe an unfamiliar composer's style without using comparisons. Latvian-born Peteris Vasks (b. 1946) openly admits that he feel particularly close to the Polish school of composition and cites Lutoslawski, Penderecki and Gorecki as important influences along with other models such as Mahler, Sibelius and George Crumb. Whilst these are certainly evident in Vasks's music (especially Lutoslawski and Gorecki) I would also add to those the name of Arvo Part as well as noting a certain Englishness to some of his string writing. If that makes Vasks's music sound like something of a hotch-potch, I am afraid it is, though to be fair he also has a fairly strong, individual sound too.
The earliest of the pieces on the disc, Cantabile, dating from 1979, is a euphonious outpouring for string orchestra that utilizes, as the composer says only the white notes of the piano. ''A feeling of ecstasy for the beauty of nature'' is how Vasks describes it, demonstrating in eight minutes ''how beautiful and harmonious the world is''. The shadow of Gorecki looms large over this piece, too large for my liking, and that, together with its somewhat aimless structure, is why for me this was the least original item on the disc. The Concerto for cor anglais of 1989, however, is an entirely different matter. Here, Vasks displays an acute sense of colour, atmosphere and textural clarity, and although stylistically this is perhaps the most traditional composition here, in terms of thematic and structural interest it is by far the most compelling and original. The cor anglais writing in the first and third movements is warm and lyrical with lush accompaniment from the orchestra and percussion, whilst the faster movements assume a folk-song like ambience. A valuable addition to the cor anglais repertoire.
After the enjoyment of the concerto my hopes were raised for the next three items for the most part, however, I was disappointed. Where Gorecki hovers over the proceedings in Cantabile, Arvo Part more than makes his presence felt in Vestijums (''Message''). The insert-notes describe the work as ''based on passages of extreme tension and dissonance, contrasted with 'release' sections of melody and sensuous harmonies''. In truth, though, the general feeling is that of a complete free-for-all inordinately loud and somewhat tedious after more than one listening. Musica Dolorosa for string orchestra is far less confrontational. The slow opening section has much in common with Mahler—weeping glissandos and more than a passing nod to the Adagio of the Fifth Symphony. The remainder of the piece reminded me of Penderecki, both the earlier 'atonal' Penderecki and the later neo-romantic one. Lauda for full orchestra is Vasks's 'song of praise' to the Latvian nation. Personally I found this piece a trifle overblown and densely orchestrated in places, especially the rather loud and incongruous aleatoric section towards the end of the work. Although it was composed only three years before the cor anglais concerto, it seemed to be a long way away from the transparency and directness of the latter.
Despite my reservations Vasks's proximity to composers such as Gorecki and Part could well spell success for this disc. If you are an admirer of those composers you would do well to disregard my criticism and explore this disc, if you do so you will find the performances and recorded sound very fine indeed.'