Garūta's songs, despite being written almost a century ago, only now see their release world premiere in a studio album - carefully selected and recorded by Garūta's former student pianist Māris Skuja and his brilliant stage partner soprano Jūlija Vasiljeva.

Among music scholars, Lūcija Garūta is often referred to as the Latvian Germaine Tailleferre, who was a member of the French group of composers called Les Six. This comparison is not accidental. From her early years as a student, Garūta dreamt of studying music abroad, and she was particularly interested in the new trends coming out of France. After her studies at the Latvian Conservatoire, she not only fulfilled her dream of continuing her education but also became acquainted with the concert life of Paris (1926).

Garūta studied piano with the eminent French musicians Alfred Cortot and Isidor Philipp, who was, among other things, a good friend of the composer Claude Debussy. She also studied instrumentation with the composer, conductor and music critic Paul Le Flem. On her second visit to Paris (1928), Garūta continued her composition studies at the École Normale de Musique with Paul Dukas, whose students included such composers as Maurice Duruflé and Olivier Messiaen.

"The mission of Garūta's music is a battle against shallowness. Modern music is full of various effects, but it often lacks substance. Garūta's music, in contrast, is very full of content." - Māris  Skuja

"Garūta's solo songs are miniatures with thematic structure, development and thought. They are as concise as a jigsaw puzzle - small, bright pieces that contribute so much to understanding an individual, an era and a composer'smusic. A three-hour opera with an expanded form does not suit today's hurried person. It is the miniature that makes this music relevant." - Jūlija Vasiljeva