for 12 voices
Latvian Radio Choir
cond. Kaspars Putniņš
Le temps scintille… –  poetry by Rainer Maria Rilke (several lines from The Duino Elegies) and Paul Valéry (again only some lines - from Le cimetière marin), whose basic atmosphere corresponds to the perception of the miracle of life – life is an airy shimmer, as twinkling time, in which we flow. The material of this work resembles speech melody; the multi-layered intonations and coloring of tone resemble the flow of sub-consciousness.


Paul Valéry
Le cimetière marin
The Graveyard By The Sea
Translated by C. Day Lewis
Rainer Maria Rilke
Duineser Elegien 
Duino Elegies
Translated by  A. S. Kline 

Le temps scintille et le songe est savoir.
[Time's air is sparkling, dream is certainty --
Pure artifice both of an eternal Cause.]

Et le ciel chante à l’âme consumée
[All bounds transfigured into a boundless air]

Wir nur ziehen allem vorbei wie ein luftiger Austausch.
[Only we pass everything by, like an exchange of air.]


Le changement des rives en rumeur.
[And I breathe now my future's emanation]

Sur mes yeux clos, secrets éblouissants,
[Secret which dazzles though mine eyes are closed]

Siehe, ich lebe, Woraus? Weder Kindheit noch Zukunft
werden weniger ....... Überzähliges Dasein 
entspringt mir im Herzen.
See I live. On what? Neither childhood nor future
grows less......Excess of being
wells up in my heart.]

Allez? Tout fuit! Ma présence est poreuse,
[All perishes. A thing of flesh and pore
Le don de vivre a passé dans les fleurs!
Into the flowers that gift of life has passed.]
nehmen immer Abschied
[and are always taking leave.]

Qu’un long regard sur le calme des dieux!
[Are the long vistas of celestial calm!]

Le Temps Scintille (2003)

Latvijas radio koris
cond. Kaspars Putniņš
Concresence project
„Abar panjom ardīg  abāg  gāw ēk-dād kard“ - „On the conflict waged with the primeval ox“ 
Bundahishn, meaning "Primal Creation", is the name traditionally given to an encyclopædiaic collections of Zoroastrian cosmogony and cosmology written in Book Pahlavi.[1] The original name of the work is not known.
Although the Bundahishn draws on the Avesta and develops ideas alluded to in those texts, it is not itself scripture. The content reflects Zoroastrian scripture, which in turn reflects both ancient Zoroastrian and pre-Zoroastrian beliefs. (Wikipedia).
Translation: 
1. As it passed away, owing to the vegetable principle (chiharak) proceeding from every limb of the ox, fifty and five species of grain and twelve species of medicinal plants grew forth from the earth, and their splendour and strength were the seminal energy (tokhmih) of the ox. 2. Delivered to the moon station, that seed was thoroughly purified by the light of the moon, fully prepared in every way, and produced life in a body. 3. Thence arose two oxen, one male and one female; and, afterwards, two hundred and eighty-two species of each kind became manifest upon the earth. 4. The dwelling (manist) of the birds is in the air, and the fish are in the midst of the water. 


Abar Panjom Ek Dad Kard (2010)

Aalomgon
Introduction 00–4,45
1. Zaar 4,45– 15.05
2. Eom 15.05–27.00
3. Simtheryl –27.00–33.39
Mystery about Tibetan monk Milarepa's life (1.magic of daemons; 2.Space of Religy; 3. Way to mountains –enlightening)
Latvijas Radio Koris, Shady Brass [3 tromb.+tuba], 12 m. posaune;
cond. K. Putniņš
Daemonic text in the first part of mystery (imaginal language):
Aghaa zaar
Idrakh nogmolaa
Īzsū gjoar
Nummu raujģ
[Once fallen down
Will never rise up again,
Will be engraved 
Into darkness of stone]

Cuckoo's Song of Total Presence / Six Vajra Verses (in the second partof mystery):

The nature of multiplicity is nondual
and things in themselves are pure and simple;
being here and now is thought-free
and it shines out in all forms, always all good;
it is already perfect, so the striving sickness is avoided
and spontaneity is constantly present.

[sNa tshogs rang bzhin mi gnyis kyang
Cha shas nyid du spros dang bral.
Ji bzhin pa zhes mi rtog kyang
rNam bar snang mdzad kun tu bzang
Zin bas rtsol ba'i nad spangs te
Lhun gyis gnas pas bzhag pa yin.]

Text of imaginary divine language in the second and third part of mystery(created by myself):
Yrjit ajīsl tvyjoraan’h
Puustia eom simtheryl;
Djonum’h il siuuk’h tvyjorjitsilt’h
Puusjon sijon uuh rtjik’haa.
[Throughout all the phenomena
Endless space is shining 
Transparent forms of hills and rivers
Are twinkling in endless dance.

Gayatri mantra included in the third Part of mystery:
oṃ bhūr bhuvaḥ suvaḥ
tatsaviturvareṇyaṃ
bhargo devasyadhīmahi
dhiyo yo naḥ prachodayāt
[We meditate on the glory of that Being who has produced this universe; may He enlighten our minds]

Aalomgon (2006)

Lum - (2004?)

The Sense Of The Past (2001)

Tvyjoraan (2012)

Kios (1999?)

Raštai

doom.wav

Aizsapņu saule (The Sun Behind Dreams)
Texts – P. Valery, M. Vilums
Music – M. Vilums
Performed:  Latvijas Radio koris, chamber ansamble from Rīgas Sinfonieta, cond. Kaspars Putniņš.

Aizsapņu saule (2015)

For ansamble (Fl., Ob. Cl., Perc., Pno., Guit., Mand., Hp. Vn. Vla., Vc., Cb.) Cond. Zsolt Nagy; perform. – 2009.
Simurgh -  is an Iranian benevolent, mythical flying creature. 
In classical and modern Persian literature the Simorḡ is frequently mentioned, particularly as a metaphor for God in Sufi mysticism. In the 12th century Conference of the Birds, Iranian Sufi poet Farid ud-Din Attar wrote of a band of pilgrim birds in search of the Simurgh. In the poem, the birds of the world gather to decide who is to be their king, as they have none. The hoopoe, the wisest of them all, suggests that they should find the legendary Simorgh, a mythical Persian bird roughly equivalent to the western phoenix. The hoopoe leads the birds, each of whom represent a human fault which prevents man from attaining enlightenment. When the group of thirty birds finally reach the dwelling place of the Simorgh, all they find is a lake in which they see their own reflection.

Raštai

Justinas Stirblys

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