Author:
Ieva Zepa
Social practices, rituals and festive events
Title
Saļmes in Stērnīne. Traditional psalm and funeral chants in Stirniene (2021)
Saļmes in Stērnīne
Saļmis. Saļmys. Saļmi. Saimis.
Traditional psalms for the dead, or Office of the Dead, or exequia in Stirniene, is known for the beautiful sound of the language. It is the ancient tradition of the spiritual music of Stirniene, and the traditions of the spiritual music of the people – the custom of praying for the soul of the deceased by singing psalms and appropriate funeral hymns at funerals and commemorations. This tradition is closely rooted and the melodies adapted to traditional singing features. In the Stirniene area, the ancient tradition of singing psalms is called saimem, salmem, saļmem, saļmim, saļmu dzīdōšonu, pōtortolku, and pōtoru skaiteišonu.
Geography
Salme belongs to the Stiriene parish and the wider area around it.
Catholicism is predominant in the Stirniene area, with almost every family and clan connected by psalms during their lifetime, and rarely is the Office of the Dead not executed during a funeral. The tradition of singing psalms belongs to every Stirniene psalm singer and inhabitant, for the Stirniene parish as a whole, and every one who joins the ritual at some point.
Importance in Community Life
The tradition of singing is a unifying element for families and generations. At the beginning of the 20th century, the Catholic mystic Teresa Neumane said that "the Latvian nation is only viable because it prays a lot for its dead.”
At the request of the family, the psalms are sung almost always when a Stirniene resident has died. The communal singing of psalms continues on the feast of the Souls and during Lent in the church and in the parish house, as far as possible, also in the home. There has been a reduction in the singing of individual homework organised at home.
A healing event in his own way – soothing in personal personal experiences when the family is lost, and offering general equalisation to the public as a whole – praying for the forgotten souls, war-fighting, repression victims, as well as the charitable, its successors, including all the dead.
“Who honors the past, it blends the future,” the people of the Stirniene neighbourhood stop at this ancient Roman insight.
Activities/Actions
The singing of the psalms is an intercession aimed at saving souls who have been brought to purgatory after death, and these saved souls can then help those who remain on earth from heaven. "Because you live in the myrushayim, because you live in the lobōk īt," said the leader of the psalms, Jokstu Gele. This statement may have become a popular saying among the psalm singers (M. Boiko also recorded this text in a field research interview).
Saļmes is a Latgalian word and exists as a partially orally inherited, folklorised phenomenon, performed mainly at home and accompanied by family members, neighbours and relatives.
The table is covered with a white tablecloth, two blessed candles on the table, and a crucifix is placed between them, facing the door. In funerals, salt and bread are placed on the table at the crucifix. The ideal number is twelve singers. After the singing of the psalms, there is a communal feast. After the psalms, the new hosts are appointed, the new hostess's black shawl is torn off and a white one is put on.
Beliefs, Rituals, Unwritten Rules
The psalms are an integral part of the funeral ritual and prayer for the dead.
The psalms are still sung in the parish of Stirniene to this day:
1) funerals (before funeral and funeral after burial);
2) each year in November for the dead of a family or household;
3) in the church on All Saints day on 1 November after the service;
4) on the day of commemoration of the dead in the church on 2 November prior to the service;
5) in the parish house once a month and during Lent for all the servants of the Church of Stirniene, the nobles of the church and the charitable, forgotten souls;
6) in the People's House – once during Advent and Lent for all the dead and for their relatives;
7) in the retirement home – at least twice a year;
8) at the request of relatives – on the anniversary of the birth or death of a relative;
9) in special situations where the deceased has requested direct or symbolic assistance in a dream – e.g. bread, pies, clean shirt, etc.;
10) in situations where there is an unexplained accident in the home, livestock plagues, the people are sick and life is slow;
11) in cases where an unexplained phenomenon is observed at home, which is translated as a ghost.
Glasses of water or drink are usually placed on the table, so that the singers can quench their thirst. In one house, I heard that only in a drowned person's funeral can this be done. The old singers said, "If the sounds are like a psalm, they will already be listening - there will be a funeral." There is a belief that if you look on which side the candle burns out the fastest during the singing, someone sitting on that side will die first. If the candles burn brightly, without sputtering, leaking or smoking, then the deceased is said to have an easy eternity. If there is a young child in the funeral home who has not yet been baptised, the child should be baptised as a matter of urgency before the funeral, so that no harm can come to them.
After the singing of the psalms, there is a communal feast. Usually a sip of booze is shared, but one singer said: "In the night I dreamt - a gnome was walking: "And how did you put on such shitty clothes, and then cover them with shit?"" Alcohol consumption is therefore not recommended and is incompatible with this ritual.
Inheritance and Transfer
The older generation of singers knew the songs by heart, nowadays they use books and partial notes. The songs are basically learnt together during singing - the melodies, the nuances of performance, the rituals associated with the tradition.
In Stirniene Primary School, the members of the Sacred Music Ensemble (2000-2015) gradually learnt to sing psalms as part of their interest education and by participating in the life of the Stirniene parish. In the summer of 2020, 27 interested participants took part in a psalm singing training - singing together without learning the individual elements.
In the 1990s, sometimes they used “Pilneijga gromata lyugszonu uz guda Diwa Kunga iksszan tryjadibas winiga, wyssu swatokas Jumprovas Maryas un Diva Swatu…” (Vilnius, 1857). Also sang from “Aglyunas Zvaigzne” (Vilnius, 1912), “Goreigōs dzīsmes” (P. Apinka, Rezekne, 1936), “SAĻMYS”(A. Matveyan, Vilnius, 2000), “Krysta gaismā” (Rezekne, 2000, 2007), and psalm notes in manuscript notebooks. Today, the brochures “Sablmys” (Stirniene, 2001) and "Saļmes Stērnīnē"(2020) are used as a basis for the singing of psalms.
History
The dead optimism, as an hour of prayer, comes from the medieval monastery tradition in the 9 th century, when the exequia were executed by pounding the dead, and the funeral day. Over the centuries, the deceased optimism is known as a prayer held by clergy in Latin.
In the second half of the 18 th century, along with the activities of the Jesuit missionaries, the exequia enters the traditional repertoire of Latgale Catholics – the psalm texts are translated into latgalically and taught people. The printed first psalm texts in Latgalically are in the prayer book “Nabożeństwo” (1786). (compiled according to Boiko, M. (2001, 348 –377) psalm singing tradition in Latgale. Acta Latgalica. No. 11. Daugavpils: Latgolian Student Institute Edition
In the 18 th century, the first god of the deer's congregation is a point of Jesuit missions. It is likely that the tradition of psalm singing in the Stirniene may have been introduced at the end of the 18 th century, and more than 200 years have been sanctioned in the Stirniene Friends. The book is “Pilneijga gromata lyugszone” on the guda Diwa's iksszan tryjadibas winiga, wyssu swatokas Jumprovas Maryas and Diva Swatu …, ”(waves, 1857).
Major Heads of Conduct:
Mōra Madjaul (Michrone, 1870 –1965) Tailor
Agate Zalans (Coce Agate, 1873 (76?) –1965) Mesters-Aizkalnīši
Peteris Peters (Lessel Peter, 19. gs.b.-20. v.) Beans of beans
Helen Gele (1902 –1995) Rubežveipi
Ludovik Leimane (Lude Donka, 1905-1980) Rubežveipi
Donated Stafeckis (Stapezoku Donote, 1910-2004) Steernine, Tyltagol
Mesters (Mesters Tekleite, 1920 –1981)
Paulina Leimane (Jared Pauleite, 1921-2001) Rubežveipi
Tel Kassaliete-Jared (1921-2001) Cassalis
Helen Jokste (Jokstu Gele, 1922-2009) Teilans
Kasparane (1924-2006) Grigi
Eleonora Vvere (1926-2006) Kassalis
Antoņina Vvere (1927-2009) Steernine, Tyltagol
Helen Mestere (Majkovskyneite, 1927-2004) Steernine, Mesters-Hills
Genoveff Prizhevoite (Prizhevot Gence, 1929-2014) Steernine, Tyltagol
Helen Vaivode (Bazneicas Gele, 1931 –2019) Stornine, Tyltagol
Leonty Pekstina (Pekstead Lone, 1933-2004) Brukku
Tekla Kassaliete (Kassalis Tekle, 1939 –2014) Stornine, Tyltagol
Anita Upeniece (Manor Anita, 1975-2018) Stornna Manor
The age grew faster, the oldest singers gradually exhausted the forces, the uncommon songs of the singing melodies from the memory, but the underlying tradition is observed, even though the time to execute it. However, the conductor, Grudou Yu, says, smiling, “Golvonais, my heart!”
Today, the psalms are singing mainly on the funeral of the funeral, sometimes in the night, in order to ensure the natural gas (Pekstead Lone). Until the 20 th century. In the 60-70 s, when there were more residents and also the singer, before the funeral they sang every night from the day of death to the day of burial.
In the 19 th century and the first half of the 20 th century, the singing skill of the sailors extensively covered the various generations and the singers of the two sexes (all in the home of the psalmu singing were all, the family could actually provide psalm singing). During the Soviet occupation, the men separated more, including children and young people, as a result of anti-religious propaganda and fear of repression, to some extent separated from traditions. In the aftermath of the war, the psalm singers and leaders were more women.
There have been incredible changes since the awakening period – men, children, young people are also singing. From 2000 to 2015, pupils sang in a spiritual musical ensemble, with adults each year participating in the joint psalm singing and also in separate funeral times. Many of them can sing together today, some of which have learned traditions, they manage to sing and can teach it to the next.
The clerks in Sturnin and the corresponding funeral songs were recorded from the top 20 th-century leaders. The tradition is continued by Stirniene's spiritual music Kora “Reversium” singers, more than 30 persons, 14 children of Kora. In the summer of 2020, two months on Sundays took place in psalm singing training.
Masters
Broņislava Vaška (Vašku Broņa, 1925) Stērnīne-Varakļōni - folk singer.
Antoņina Teilāne (Teilānu Ante, 1931) Teilāni - folk singer, excellent master of handicrafts.
Veronika Ozoliņa sen. (Ūzuleņu Vera, 1933) Stērnīne - folk singer, excellent master of handicrafts
Anna Kanča (Sporānu Anna, 1935), Jaungaiļi - folk singer.
Genovefa Putriča (Putriču Geņa, 1936) Putriči - folk singer, saļmi leader in several generations.
Jānis Stafeckis (Stapecku Jōņs, 1938) Shernine - folk singer, leader of the saļmi in several generations.
Jānis Erdmanis (Erdmaņu Jōņs, 1946) Stērnīne Manor - folk singer.
Jānis Gruduls (Gruduļu Jōņs, 1946) Teilāni- excellent choir conductor, teacher, Stirniene spiritual music choir “Reversium” conductor, saļmi singer and leader.
Ieva Zepa (Bazneicas Īva, 1976) Sternīne - the organist of The Church of the Stirniene (varganiste), pedagogy and cultural worker, saļmi singer and leader since childhood.
Jānis Zeps (Zepu Jōņs, 1991) Stērnīne - folk singer, a singer and leader of saļmi since childhood and in several generations.
Ilze Grēvele-Skaraine (Grēveļu Ilze, 1992) Indāni - professional musician and teacher, excellent ancient music interprete, saļmi singer since childhood and leader.
Gunta Greisle (Greišļu Gunta, 1999) Mesteri-Aizkalnīši - professional musician, vocalist, JVLMA student, saļmi singer since childhood and leader.
Institutions and Organizations
Stylus sv. Laurent Roman Catholic congregation and Stirniene Friends Society
Strengthening the Tradition
The psalm and funeral songs were collected, collected and decrypted by volunteering from 1992 to 2018 (Ieva Zepa, consultant Jānis Gruduls) from the old singer and psalm leaders of the Stirniene parish - Helen Greeles (Jokstu Geles), Antoņina Weveres, Genovefa Priazvoites (genius), Helen Vaivodes (Bazneicas Geles), Helen Mesteres (Majkovskaya), Texas Mesteres (Uzollen).
In the main school of the market, the spiritual musicians experienced psalm singing (2000-2015).
Issued a copy of the brochures “Sablemys” with saļmu texts and the melodies of the Stirniene Friends (2001).
Psalm and funeral singing are digitised (Bernadette Everse, 2019).
The nošu “Saļmes Sturnina” (2020) is issued, which includes traditional psalms and funeral singles of Latgale with melodies written in the Stirniene area, accompanied by a description of the tradition, an explanation of grandwords, a list of singers, a photograph and a double disc of the audio record. The dziedājumu is designed with bigger font letters to make it easier to read older people and people with special needs. The project was supported BY THE CKF with EUR 3500 co-financing.
In summer 2020, psalm singing training (27 persons) was carried out.
The tradition of psalm singing in funeral times and the Church of Stirniene continues.
In 2021, the VKKF project co-financing of 1800 EURO made a video record, processed photos and an application for the list of intangible cultural heritage.
By realizing projects related to the singing of sailors, as well as continuing traditions, psalm songs have been populated in society, mass media, Internet environment. In many families, both the Stirniene district and Latgale municipality, and outside Latgale region and outside Latvia, have travelled the stock of psalms and THE CD, which people sing with and pray, feel links to their people, their land, their roots. The Stirniene-specific and non-reproducible is preserved.
As an ancient, the fact of today's spiritual music is important for the Stirniene, with the tendency to preserve, develop and also innovate. They contribute to human being and individual manifestations. The cultural landscape of the market is not conceivable without the ancient and contemporary traditional music traditions, their development, development and interactions.
"According to the description (and it can be seen and heard in the accompanying video and audio recordings), for some years, the reference system has been recorded and thus, in one particular way, the melodies used in training activities and in different performance times. This means the end of the oral tradition of the death of the dead. Well, it's gone into a written bed. Its inheritance, learning is now mediated by published transcripts. There is a clear phrase, smart, well-apprenticeship, uniformity of performance. The symsulation, spontaneous asynchronous and intonative approximate are excluded. Also, toņveide and articulation are now reminiscent of self-actions in collective, cores.
In front of our eyes (and ear) there is a local Catholic repertoire Revival practice. It is a new phenomenon. In this case, it is, of course, a diverse link with the old, authentic form. There are still a few of its representatives among the participants. However, real music is now a different foundation and new techniques are used in many ways. It should be noted that the above developments are a natural process in modern times which should not be viewed as desirable/undesirable. They are simply, develop and continue. And their results are and will have their own place in a wide-ranging, rapid change in the contemporary music landscape. "(2021, Opinion of expert Prof. M. Boiko)
An old man in Stirniene's neighborhood once said, “Needigs byudam, a heaven.” This is why the people of Stirniene are working and looking forward to the future with unsavourable optimism.
VKF, Stirnienes sv. Laurent Roman Catholic parish and private financial support, Riga Metropolitan Catholic Catholic Recommendation.
Continuity/Development
The FOLKLORE AND CHRISTIANITY of Ieva Zeppa's promotional work devoted to Shernine. 20. –21. EXAMPLE of THE CENTURIES OF THE CENTURIES OF THE CENTURIES/PARISH. Field studies, interviews, storing memories, stories of lifestories, journal, audiovisual material will continue. The dissertation is intended to be completed by 2024.
It is planned to continue to sing the singing as at home, in a friendly manner; to address the public, to encourage and encourage the restoration of traditions and to join, as well as to attract the new generation as far as possible, to carry out training. The saļmu tradition continues as existing singers and leaders, its new change - JIRMV learners and JVLMA students from Stirniene Cora; the annual musical studio of children and young people “Stornna Dzinmess Dinas” (since 2001). The Registrar and the successor will be the Stirniene sv. Laurent Roman Catholic Church, promotion and publicity events will be formed by the Stirniene Friends Society.
The purpose of the “Saļmes Sturnina” book is to preserve and continue the tradition of psalm singing in the Stirniene and its neighbourhood, to maintain its sustainability, to publish quality educational and preserving material, to include lifelong learning, to transfer and promote the knowledge and skills of the intangible cultural heritage.
Training provides an opportunity to participate and learn songs under masters.
The main objective of the measures already taken is the long-term preservation of the tradition, the unification of the Community, the strengthening of the latgalian Catholic identity.
Threats to the Tradition
The threat of sunshine is generally globalisation and the general secularisation of society. In any place, the tradition is lacking when it is no longer a value and a need for life when the cultural heritage is lost if there is no longer a psalm manager and a desire to sing. On the side of the market, the threat is also a dramatic decline in the population and a change in the boundaries of the municipality, because, without belonging to Latgale culture, the preservation of Latgalian identity and cultural historical values is not encouraged.
Applicant
Stirniene friends' association, reg. no. 40008296789
Gallery
Audio Materials
Video Materials
Text materials
Publications
Boiko, M. (2005, 13-20 May, No. 18 (148): 4) Jesuit: mentality and heritage.// cultural forum
Boiko, M. (2019, 84-93) Jesuit field mission books and traditional music of Latgalians. Some notes, assumptions, and findings. National Library of Latvia, scientific articles 4/XXIV. Riga: National Library of Latvia
Boiko, M. (2005, No. 20 (160), 4) The historic and stylistic layers of the traditional music of Latgale. Catolic traditional music. Cultural Forum
Boiko, M. (2005, 79-98) deceased optimism: the dynamics of tradition in the 20 th century// Letonica. Journal of Humanitarian Sciences: literature, folklore, art, No. 13. Riga: LU literature, folklore and art institute
Boiko, M. (2004, No. 5 (25): 24-27) Death, autumn, dreams and dead offensive in Latgale.// Music sun
Boiko, M. (2001, 348 –377) psalm singing tradition in Latgale. Acta Latgalica. Zinectnical roksts, documents, trimmings. No. 11. Daugavpils: izdevnīceiba of Latgola Research Institute
Boiko, M. (2002, 115-125) meeting with dead dreams: typical and untyped narrative and their functional and cultural historical context. From: Louse, A. (red. 2002) Man. Life. Narration. Riga: Latvian anthropologist association, Latvian university literature, folklore and art institute
Brence, I. (1995) Catholic Church music in Latgale. Bachelor's work JVLMA. Riga
Big beard, A., Boiko, M. (2012) psalm singing in Latgale. Officium defunctorum. The Office ofthe Dead in Latgale. Riga: LU literature, folklore and art institute
Mester, L. (30.10.2020) The Society of Friends of Stirnies issued two valuable expenditures. A local newspaper.
Synthesis of urka, B. (2012) Catholic and Paganic traditions in Latgale music. Bachelor's work JVLMA. Riga
Zepa, I. (2020). Crumbs in Sturneen. Traditional psalm singing Krajums and double disc. Riga: Dark Holography
Beitane, A. (2014) Traditional Polyphony in the officium defunctorum in North-Eastern Latvia. Rusudan Tsurtsumia and Joseph Jordania (Eds). Treatment of the 6 th International Symposium on Traditional Polyphony. Tbilisi: International Research Center for Traditional Polyphony of Tbilisi Vano Sarajishvili State Conservatoire
Beitane, A. (2009). The vocal voices of late origin in Latvian traditional music (Multipart Singing of Recent Origin in Latvian Traditional Music). Riga: LULFMI.
Slišan, O. (2010). Fermentation of chiacrxinate or felled roots. Z/SJākupāni, GIRG
Websites
https://klasika.lsm.lv/lv/raksts/etno-vestis/ieva-zepa-pec-psalmu-dziedasanas-majas-iestajas-fizisks-miers.a141909/ - interview with Ieva Zepu on the singing tradition in Stirniene.
https://lr1.lsm.lv/lv/raksts/kolnasata/izguojs-dubultdiskys-salmes-sternine.a136511/ - interview with Ieva Zepu on the singing tradition in Stirniene.
https://hearthis.at/rml/rita-celiens-rml-s06e039b/ - interview with Ieva Zepu on the singing tradition in Stirniene.