Avant-garde Trends in Latvian Music, 1970s–1990s - Revision history

Diogo at 13:26, 30 June 2019

2019-06-30T13:26:48Z

Diogo: /* 19 Years before the Beginning (19 Gadi Pirms Sākuma) */

2019-06-30T12:46:15Z

‎19 Years before the Beginning (19 Gadi Pirms Sākuma)

Diogo: /* 19 Years before the Beginning (19 Gadi Pirms Sākuma) */

2019-06-29T16:39:21Z

‎19 Years before the Beginning (19 Gadi Pirms Sākuma)

Diogo: /* The Yellow Postmen (Dzeltenie Pastnieki) */

2019-06-29T16:33:53Z

‎The Yellow Postmen (Dzeltenie Pastnieki)

Diogo: /* Workshop for the Restoration of Unfelt Sensations (NSRD) */

2019-06-29T16:06:24Z

‎Workshop for the Restoration of Unfelt Sensations (NSRD)

Diogo at 16:58, 17 April 2019

2019-04-17T16:58:14Z

Diogo at 15:32, 12 April 2019

2019-04-12T15:32:16Z

Show changes

Diogo: Text replacement - "Latvian Contributions" to "Latvian Content"

2019-04-04T15:28:09Z

Text replacement - "Latvian Contributions" to "Latvian Content"

Diogo at 12:32, 2 November 2018

2018-11-02T12:32:01Z

Diogo at 15:33, 27 March 2018

2018-03-27T15:33:19Z

← Older revision		Revision as of 13:26, 30 June 2019
Line 1:		Line 1:
	[[File:Concert 3-kopie-(1).jpg\|thumb\|right\|NSRD, Concert Performance (Juris Boiko, Hardijs Lediņš, Inguna Černova), mid 1980’s. Photo: Imants Žodžiks]]		[[File:Concert 3-kopie-(1).jpg\|thumb\|right\|NSRD, Concert Performance (Juris Boiko, Hardijs Lediņš, Inguna Černova), mid 1980’s. Photo: Imants Žodžiks]]
−	Avant-garde Trends in Latvian Music, 1970s–1990s - An essay by <strong>Daiga ~~Mazvērsīte~~ </strong>and <strong>Māra Traumane </strong> for [[Sound Exchange]].	+	Avant-garde Trends in Latvian Music, 1970s–1990s - An essay by <strong>[[Daiga Mazvērsīte]] </strong>and <strong>Māra Traumane </strong> for [[Sound Exchange]].

@@ Line 99: / Line 99: @@
 == 19 Years before the Beginning (19 Gadi Pirms Sākuma) ==
 [[File:19 gadi pirms sakuma(1).jpg|thumb|right|19 Gadi Pirms Sākuma. Photo: unknown]]
-»[[19 Gadi Pirms Sākuma]]« was founded by a member of NSRD, the singer, bassoonist and flautist [[Inguna Černova]], who wanted to express her ideas in the actual playing of music for an audience, not only in performances and recordings. Two musicians from The Yellow Postmen joined the group – keyboardist and singer [[Viesturs Slava]] and drummer [[Ilgvars Rišķis]], as well as [[Daiga Mazvērsīte]] (keyboard), U[[ldis Vanags]] (trumpet) and [[Uģis Šēriņš]] (saxophone). They were equipped with Viesturs Slava’s Yamaha and Casio synthesisers, borrowed from Lediņš, and a borrowed drum machine. The début of »19 Years before the Beginning« was at the beginning of 1988, during the exhibition A Mole in a Hole, initiated by Hardijs Lediņš and his associates at the Museum of Foreign Art. Art curators from West Berlin, who heard this performance, invited them to the avant-garde music festival Transmission, together with many celebrities, including the joint project of Heiner Müller and Heiner Goebbels, »Der Mann im Fahrstuhl« (A Man in an Elevator).
+»[[19 Gadi Pirms Sākuma]]« was founded by a member of NSRD, the singer, bassoonist and flautist [[Inguna Černova]], who wanted to express her ideas in the actual playing of music for an audience, not only in performances and recordings. Two musicians from The Yellow Postmen joined the group – keyboardist and singer [[Viesturs Slava]] and drummer [[Ilgvars Rišķis]], as well as [[Daiga Mazvērsīte]] (keyboard), [[Uldis Vanags]] (trumpet) and [[Uģis Šēriņš]] (saxophone). They were equipped with Viesturs Slava’s Yamaha and Casio synthesisers, borrowed from Lediņš, and a borrowed drum machine. The début of »19 Years before the Beginning« was at the beginning of 1988, during the exhibition A Mole in a Hole, initiated by Hardijs Lediņš and his associates at the Museum of Foreign Art. Art curators from West Berlin, who heard this performance, invited them to the avant-garde music festival Transmission, together with many celebrities, including the joint project of Heiner Müller and Heiner Goebbels, »Der Mann im Fahrstuhl« (A Man in an Elevator).
 Latvians concluded the evening, assisted by the fantastic Latvian-Estonian guitarist [[Kalle Laar]]. Specialised in modern jazz and performance, Laar could imitate half a dozen instruments on his guitar: guitars, drum machine, synthesiser, exotic percussion and even string instruments. »19 Years'« music was never very concrete, it easily changed in both form and content, and it was based upon mutual development of the musical theme and improvisation. In several recordings and concerts at the Tempodrom in West Berlin, Latvian DJ Roberts Gobziņš, alias Eastbam, became the stage partner of »19 Years« with his tape recorders, and he was also one of the participants in NSRD's performance as part of an international phone concert.

@@ Line 99: / Line 99: @@
 == 19 Years before the Beginning (19 Gadi Pirms Sākuma) ==
 [[File:19 gadi pirms sakuma(1).jpg|thumb|right|19 Gadi Pirms Sākuma. Photo: unknown]]
-»19 Gadi Pirms Sākuma« was founded by a member of NSRD, the singer, bassoonist and flautist Inguna Černova, who wanted to express her ideas in the actual playing of music for an audience, not only in performances and recordings. Two musicians from The Yellow Postmen joined the group – keyboardist and singer Viesturs Slava and drummer Ilgvars Rišķis, as well as Daiga Mazvērsīte (keyboard), Uldis Vanags (trumpet) and Uģis Šēriņš (saxophone). They were equipped with Viesturs Slava’s Yamaha and Casio synthesisers, borrowed from Lediņš, and a borrowed drum machine. The début of »19 Years before the Beginning« was at the beginning of 1988, during the exhibition A Mole in a Hole, initiated by Hardijs Lediņš and his associates at the Museum of Foreign Art. Art curators from West Berlin, who heard this performance, invited them to the avant-garde music festival Transmission, together with many celebrities, including the joint project of Heiner Müller and Heiner Goebbels, »Der Mann im Fahrstuhl« (A Man in an Elevator).
+»[[19 Gadi Pirms Sākuma]]« was founded by a member of NSRD, the singer, bassoonist and flautist [[Inguna Černova]], who wanted to express her ideas in the actual playing of music for an audience, not only in performances and recordings. Two musicians from The Yellow Postmen joined the group – keyboardist and singer [[Viesturs Slava]] and drummer [[Ilgvars Rišķis]], as well as [[Daiga Mazvērsīte]] (keyboard), U[[ldis Vanags]] (trumpet) and [[Uģis Šēriņš]] (saxophone). They were equipped with Viesturs Slava’s Yamaha and Casio synthesisers, borrowed from Lediņš, and a borrowed drum machine. The début of »19 Years before the Beginning« was at the beginning of 1988, during the exhibition A Mole in a Hole, initiated by Hardijs Lediņš and his associates at the Museum of Foreign Art. Art curators from West Berlin, who heard this performance, invited them to the avant-garde music festival Transmission, together with many celebrities, including the joint project of Heiner Müller and Heiner Goebbels, »Der Mann im Fahrstuhl« (A Man in an Elevator).
 Latvians concluded the evening, assisted by the fantastic Latvian-Estonian guitarist [[Kalle Laar]]. Specialised in modern jazz and performance, Laar could imitate half a dozen instruments on his guitar: guitars, drum machine, synthesiser, exotic percussion and even string instruments. »19 Years'« music was never very concrete, it easily changed in both form and content, and it was based upon mutual development of the musical theme and improvisation. In several recordings and concerts at the Tempodrom in West Berlin, Latvian DJ Roberts Gobziņš, alias Eastbam, became the stage partner of »19 Years« with his tape recorders, and he was also one of the participants in NSRD's performance as part of an international phone concert.

@@ Line 78: / Line 78: @@
 Eastbam had also participated in the recording of The Yellow Postmen's 1982 album »Man ļoti patīk jaunais vilnis« (I Really like the New Wave) as a singer and lyricist.
-The Postmen – Ingus Baušķenieks (vocals, bass), Viesturs Slava (keyboards, guitar, vocals), Mārtiņš Rutkis (guitar), Zigmunds Streiķis (keyboards) and Ilgvars Rišķis (drums) acquired their own repertoire in 1981, thanks partially to NSRD leader Hardijs Lediņš. While supervising the disco Kosmoss, he provided compositions in the style of the new wave in Latvian, and The Yellow Postmen recorded their first hit, »Milžu cīņa« (Battle of Giants). Lediņš, together with his NSRD partner, Juris Boiko, composed several other songs: »Salauztā kafejnīca« (Broken Café), »Nāc ārā no ūdens« (Come out of the Water), etc., which were included in The Yellow Postmen's repertoire. The name of the group was also borrowed from a Lediņš/Boiko song – »Pastnieks viltus dzeltenais« (Sham Yellow Postman). Initially The Yellow Postmen staged NSRD songs, but later created their own pieces with Lediņš/Boiko’s texts and their own lyrics.
+The Postmen – [[Ingus Baušķenieks]] (vocals, bass), [[Viesturs Slava]] (keyboards, guitar, vocals), [[Mārtiņš Rutkis]] (guitar), [[Zigmunds Streiķis]] (keyboards) and [[Ilgvars Rišķis]] (drums) acquired their own repertoire in 1981, thanks partially to NSRD leader [[Hardijs Lediņš]]. While supervising the disco Kosmoss, he provided compositions in the style of the new wave in Latvian, and The Yellow Postmen recorded their first hit, »Milžu cīņa« (Battle of Giants). Lediņš, together with his NSRD partner, [[Juris Boiko]], composed several other songs: »Salauztā kafejnīca« (Broken Café), »Nāc ārā no ūdens« (Come out of the Water), etc., which were included in The Yellow Postmen's repertoire. The name of the group was also borrowed from a Lediņš/Boiko song – »Pastnieks viltus dzeltenais« (Sham Yellow Postman). Initially The Yellow Postmen staged NSRD songs, but later created their own pieces with Lediņš/Boiko’s texts and their own lyrics.
 In 1984 the magnetic tape album »Alise« was released, based upon the famous books by Lewis Carroll. It is the only thematically-united album by the group, and it could be called a suite. The albums »Vienmēr klusi« (Silently always, 1984), »Depresīvā pilsēta« (Depressive City, 1986) and »Naktis« (Nights, 1987) followed. <em><strong>[25]</strong></em> An enormous achievement for the group was its participation in the international festival of alternative music in Warsaw in 1987, Carrot, together with such stars of avant-garde music as Cabaret Voltaire and Pere Ubu. It was the first time that a Latvian experimental avant-garde group played alongside acknowledged Western musicians as equals. However, the strength of The Yellow Postmen were their recordings, not concerts, as they were not professional musicians. Moreover, the technology of these recordings is absolutely unique, not only by Latvian standards.

@@ Line 42: / Line 42: @@
 [[File:Approx art 2 binocular-kopie-(1).jpg|thumb|right|NSRD live. Photo: Unknown]]
-»Nebijušu sajūtu restaurēšanas darbnīca« [[NSRD]] – »Between the philosophy of Zen Buddhism and Californian high-tech.« (Micky Remann) – has the status of an avant-garde (and underground) legend in Latvian music and art. More than 20 years after the group ceased its activities, their music, actions, video performances and texts still speak to a later generation. »Avant-garde« is not a fitting designation for the group, since at the beginning of the 1980s it announced that »avant-garde is no longer avant-garde«. NSRD linked its activities to Postmodernism, which, in their own words, »attempts to bring into art as many dimensions as there are in life«. <em><strong>[12]</strong></em> The impulses for NSRD multimedia activities are found in various fields of the arts: its founders and conceptual core were Hardijs Lediņš (1955–2004), architectural theoretician: Juris Boiko (1954–2002), poet and artist; musicians Inguna Černova and Mārtiņš Rutkis (physicist, software producer); and architect Imants Žodžiks. Architect Aigars Sparāns and artist Leonards Laganovskis were also sometimes involved. The group expressed itself innovatively in music and conceptual albums, in concerts/performances, actions, multimedia exhibitions and video art, and also by mastering new technologies – they were the first to use video and computer technologies in their projects.
+»Nebijušu sajūtu restaurēšanas darbnīca« [[NSRD]] – »Between the philosophy of Zen Buddhism and Californian high-tech.« (Micky Remann) – has the status of an avant-garde (and underground) legend in Latvian music and art. More than 20 years after the group ceased its activities, their music, actions, video performances and texts still speak to a later generation. »Avant-garde« is not a fitting designation for the group, since at the beginning of the 1980s it announced that »avant-garde is no longer avant-garde«. NSRD linked its activities to Postmodernism, which, in their own words, »attempts to bring into art as many dimensions as there are in life«. <em><strong>[12]</strong></em> The impulses for NSRD multimedia activities are found in various fields of the arts: its founders and conceptual core were [[Hardijs Lediņš]] (1955–2004), architectural theoretician: [[Juris Boiko]] (1954–2002), poet and artist; musicians [[Inguna Černova]] and [[Mārtiņš Rutkis]] (physicist, software producer); and architect [[Imants Žodžiks]]. Architect [[Aigars Sparāns]] and artist [[Leonards Laganovskis]] were also sometimes involved. The group expressed itself innovatively in music and conceptual albums, in concerts/performances, actions, multimedia exhibitions and video art, and also by mastering new technologies – they were the first to use video and computer technologies in their projects.
 The music project NSRD originated in 1982: however, Juris Boiko’s and Hardijs Lediņš’ creative »home« experiments started earlier. In the 1970s they were influenced by the avant-garde – Webern's and Satie's music – as well as by progressive trends in art rock and new jazz. Their generation familiarised itself with these trends by listening to rare, imported vinyl records and tape recordings, copied and exchanged several times, and, parallel to this, studying issues of difficult to find foreign journals like Melos or Melody Maker. While studying architecture and being active at the RPI Students’ Club, Lediņš organised the above-mentioned lectures, discos and avant-garde music festivals, and founded the home recording studio »Seque«. Seque Records' first step had been »the prepared piano«, however, later Seque tapes feature a wide range of instruments: a piano, a saxophone, a horn, a trumpet, a trumpet horn, bells, a globe of the Earth, a dog’s voice (milk, bone), a two-stringed board, glassworks, a triangle, synthesizer sound, etc.

@@ Line 37: / Line 37: @@
 All of this, obviously, led to great technological backwardness, but poverty also forced musicians to become very creative and invent their own, unusual technology. For example, in 1986 the leader of the group Jumprava, [[Aigars Grāvers]], »borrowed« equipment from his cultural club – two synthesisers and a mixer. He installed it in his friend [[Jānis Kurzemnieks]]’ apartment to create the experimental musical project »[[Asociāciju sektors]]« (Sector of Associations) with nine improvised compositions with vocal parts created on the spot by poet Ritvars Dižkačs, which turned into a document of free thought of the time.
-And yet, »Workshop for the Restoration of Unfelt Sensations« and, to a point, the »New Wave« group [[Dzeltenie pastnieki]] (The Yellow Postmen), became the most striking musical avant-gardists in the so-called amateur field in the 1970s/80s.
+And yet, »Workshop for the Restoration of Unfelt Sensations« and, to a point, the »New Wave« group [[Dzeltenie Pastnieki]] (The Yellow Postmen), became the most striking musical avant-gardists in the so-called amateur field in the 1970s/80s.
 == Workshop for the Restoration of Unfelt Sensations (NSRD) ==

← Older revision		Revision as of 15:28, 4 April 2019
Line 176:		Line 176:
	[26] »Riga – Lettische Avantgarde«, 1988, West Berlin City Gallery, 1989 – City art gallery Im Sophienhof, Kiel; exhibition hall Weserburg, Bremen.		[26] »Riga – Lettische Avantgarde«, 1988, West Berlin City Gallery, 1989 – City art gallery Im Sophienhof, Kiel; exhibition hall Weserburg, Bremen.

−	[[Category:Latvian ~~Contributions~~]] [[Category:Sound Exchange]] [[Category: Essays]]	+	[[Category:Latvian Content]] [[Category:Sound Exchange]] [[Category: Essays]]

@@ Line 11: / Line 11: @@
 In the 1960s and 1970s the environment of academic music in Riga was dominated by pronouncedly conservative attitudes. The ideologically-controlled official institutions still remembered the persecution of »formalists« in the 1950s. The oppressive isolation and lack of topical information, as well as the taste of the musical community, determined the conservative spirit: »[In Latvia] for a long time the leading style in academic music was National Romanticism, which very well suited the requirements of Soviet ideology. [1]</strong></em>
-This, of course, does not mean that musical numbness had affected all fields of culture. Innovators’ busy minds were charged with fragments of information and irregular, self-organised interdisciplinary events. For example, already in the mid-1960s composer Andrei Volkonsky, an expert in avant-garde and early music from Moscow, gave a lecture at the Komsomols’ Club of the Riga Film Studio: Krzysztof Penderecki’s music recording was played at a Riga Pantomime performance, »Hiroshima«; in 1972 Imants Zemzaris composed music for a 16mm underground film inspired by structuralist ideas <em><strong>[2]</strong></em> and the album »Jesus Christ Superstar«, heard on a jammed Western radio station, inspired one of the first happenings in Latvia. <em><strong>[3]</strong></em> Specialised underground exchange and distribution networks for imported pop music and art rock records, later also for copied tape recordings, were spreading.
+This, of course, does not mean that musical numbness had affected all fields of culture. Innovators’ busy minds were charged with fragments of information and irregular, self-organised interdisciplinary events. For example, already in the mid-1960s composer [[Andrei Volkonsky]], an expert in avant-garde and early music from Moscow, gave a lecture at the Komsomols’ Club of the Riga Film Studio: Krzysztof Penderecki’s music recording was played at a Riga Pantomime performance, »Hiroshima«; in 1972 Imants Zemzaris composed music for a 16mm underground film inspired by structuralist ideas <em><strong>[2]</strong></em> and the album »Jesus Christ Superstar«, heard on a jammed Western radio station, inspired one of the first happenings in Latvia. <em><strong>[3]</strong></em> Specialised underground exchange and distribution networks for imported pop music and art rock records, later also for copied tape recordings, were spreading.
 Professional musicians and students could follow the new trends by using the resources of the Republican Library, which were rather scarce on foreign literature, the most valuable editions being Polish magazines Ruch Muzyczny<em>, several issues from the collection of </em>Res Facta,<em> and German </em>Melos, later Neue Zeitschrift für Musik. Pictures of multimedia events could be seen in Polish art magazines Projekt and Sztuka. Some lucky few managed to get to the very important Warsaw Autumn festivals.
@@ Line 17: / Line 17: @@
 In the early 1970s, with a change of leadership in the Composers’ Union of Latvian SSR and, soon after that, in the Philharmonic, fresh winds revitalised the policy of both organisations. Lectures and demonstrations by guest lecturers, musicologists and performers became more frequent, usually gathering a small audience of professionals. Alexei Lubimov, author of the later festival programmes, the outstanding Muscovite pianist and proponent of new music, started coming to Riga to give lectures. Similar to other supporters of new music, he used »the gaps in the system« to pursue creative freedom and »enlightenment« <em><strong>[4]</strong></em>. Lubimov offered to Riga Philharmonic a cycle of concerts entitled »Music of the 20th Century«. <em><strong>[5]</strong></em> After a few concerts, due to repeated complaints from the audience about the appearance of performative elements taken from works by Cage and Ives, the concerts were discontinued. However, the prohibition served as a push for the organisers of Riga festivals.
-Hardijs Lediņš, a student of architecture interested in music and an activist in Riga Polytechnical Institute (RPI) Students’ Club, was indignant about the closing of the concert series and contacted the violinist Boriss Avramecs, who had friendly ties with musicians in Moscow. Instead of the one intended concert, Lubimov offered a programme of concerts, and thus the first »festival of avant-garde music« in Riga was born in 1976. It was »pure underground«: the premises of the RPI Students’ Club (the Anglican Church) were approved, but the programme was not, and »no printed materials were possible.« <em><strong>[6]</strong></em> Musicians from Moscow accompanied Lubimov to Riga: Mark Pekarsky (percussion), Tatyana Grindenko (violin), and, together with the electronic music group Boomerang, composer Vladimir Martynov <em><strong>[7]</strong></em>. The festival programme for the first time offered a wider Riga audience new music from around the world. Lubimov recalls: »I wanted to make these programmes very interesting and diverse, therefore I thought that I must include not only the ›composers’‹ avant-garde, like Cage or Stockhausen, but also add something of the other, experimental side from rock music.« <em><strong>[8]</strong></em> For the first time, Riga heard minimalism: Terry Riley’s »In C« and Vladimir Martynov’s »Albuma lapiņa« (An Album Page) for piano, violin and rock group, Stockhausen’s intuitive piece »Setz die Segel zur Sonne« and »Intensity« from »Aus den Sieben Tagen«, as well as collective improvisation – a tribute to John McLaughlin. The culmination of the programme was John Cage’s »Lecture on the Weather«, some of his other works being performed in the background as it was read. A provocative happening involving members of an experimental Riga theatre group and Moscow musicians concluded the concert, causing a scandal.
+Hardijs Lediņš, a student of architecture interested in music and an activist in Riga Polytechnical Institute (RPI) Students’ Club, was indignant about the closing of the concert series and contacted the violinist [[Boriss Avramecs]], who had friendly ties with musicians in Moscow. Instead of the one intended concert, Lubimov offered a programme of concerts, and thus the first »festival of avant-garde music« in Riga was born in 1976. It was »pure underground«: the premises of the RPI Students’ Club (the Anglican Church) were approved, but the programme was not, and »no printed materials were possible.« <em><strong>[6]</strong></em> Musicians from Moscow accompanied Lubimov to Riga: Mark Pekarsky (percussion), Tatyana Grindenko (violin), and, together with the electronic music group [[Boomerang]], composer Vladimir Martynov <em><strong>[7]</strong></em>. The festival programme for the first time offered a wider Riga audience new music from around the world. Lubimov recalls: »I wanted to make these programmes very interesting and diverse, therefore I thought that I must include not only the ›composers’‹ avant-garde, like Cage or Stockhausen, but also add something of the other, experimental side from rock music.« <em><strong>[8]</strong></em> For the first time, Riga heard minimalism: Terry Riley’s »In C« and Vladimir Martynov’s »Albuma lapiņa« (An Album Page) for piano, violin and rock group, Stockhausen’s intuitive piece »Setz die Segel zur Sonne« and »Intensity« from »Aus den Sieben Tagen«, as well as collective improvisation – a tribute to John McLaughlin. The culmination of the programme was John Cage’s »Lecture on the Weather«, some of his other works being performed in the background as it was read. A provocative happening involving members of an experimental Riga theatre group and Moscow musicians concluded the concert, causing a scandal.
 [[File:Hardis ledins laikagarsvietasatmosfera sm(1).jpg|thumb|right|Hardijs Ledins, photo @ Art space Riga. ]]
@@ Line 26: / Line 26: @@
 [[File:Vladimir-martynov-baza otvetmartynov2145(1).jpg|thumb|right|Vladimir Martynov. Photo: unknown]]
-The fatal storm broke out after the performance of Martynov’s »Lieldienu kantātes« (Easter Cantata), during which leaflets with the text of »Der am Kreuz ist meine Leib!« were scattered from the balcony. The secret services adroitly interpreted it as the worst violation of the time – religious propaganda. The directors of the Students’ Club lost their jobs, Alexei Lubimov was prohibited from giving concerts abroad and in Latvia for several years, but Hardijs Lediņš had to choose between continuing his studies and organising events. However, the ideas of the festival lived on in 1978 in the Tallinn Festival of Contemporary and Early Music, and in several experimental music projects in Riga in the 1980s – most notably »Nebijušu sajūtu restaurēšanas darbnīca« (NSRD, engl.: Workshop for the Restoration of Unfelt Sensations), founded by Hardijs Lediņš and Juris Boiko.
+The fatal storm broke out after the performance of Martynov’s »Lieldienu kantātes« (Easter Cantata), during which leaflets with the text of »Der am Kreuz ist meine Leib!« were scattered from the balcony. The secret services adroitly interpreted it as the worst violation of the time – religious propaganda. The directors of the Students’ Club lost their jobs, Alexei Lubimov was prohibited from giving concerts abroad and in Latvia for several years, but Hardijs Lediņš had to choose between continuing his studies and organising events. However, the ideas of the festival lived on in 1978 in the Tallinn Festival of Contemporary and Early Music, and in several experimental music projects in Riga in the 1980s – most notably »Nebijušu sajūtu restaurēšanas darbnīca« ([[NSRD]], engl.: Workshop for the Restoration of Unfelt Sensations), founded by Hardijs Lediņš and Juris Boiko.
 == Studios and musical instruments ==

← Older revision		Revision as of 15:33, 27 March 2018
Line 176:		Line 176:
	[26] »Riga – Lettische Avantgarde«, 1988, West Berlin City Gallery, 1989 – City art gallery Im Sophienhof, Kiel; exhibition hall Weserburg, Bremen.		[26] »Riga – Lettische Avantgarde«, 1988, West Berlin City Gallery, 1989 – City art gallery Im Sophienhof, Kiel; exhibition hall Weserburg, Bremen.

−	[[Category:Latvian Contributions]] [[Category:Sound Exchange]]	+	[[Category:Latvian Contributions]] [[Category:Sound Exchange]] [[Category: Essays]]