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Peteris Vasks' music should be viewed against the socially and politically turbulent history of his home country Latvia. All three pieces, here, according to Vasks, represent the polarity between optimistic hope for a better future and an anxious concern for the modern world.
Regarding the fantasia “Vox Amoris” Vasks said: “It has to do with the strongest force in the world – love. I hope that this piece touches the listener and makes the world a little more friendly and open for love.” With the violin, the “voice of love”, the listener experiences different sensations from a gentle blossoming to open passion.
1996/97 saw the composition of the concerto “Tala gaisma” (Distant Light, Vasks’ first and so far most extensive work for violin and string orchestra. Its form consists of a sequence of strongly contrasting episodes that are partly influenced by Latvian folk music.
Almost ten years later he wrote “Vientulais engelis” (Lonely Angel). During its composition, Vasks had a special image in mind: “I saw an angel, flying over the world; the angel looks at the world’s condition with grieving eyes, but an almost imperceptible, loving touch of the angel’s wings brings comfort and healing. This piece is my music after the pain.”
The pieces are performed by the exceptional violinist Alina Pogostkina, superbly accompanied by the Sinfonietta Riga under the direction of Juha Kangas. “You really have to rhapsodize about Alina Pogostkina: so young, so brilliant, so musical, perfect and at the same time natural.” (Süddeutsche Zeitung)