A great Latvian word is the adjective sirsnīgs. Roughly translated, it means “from the heart” or “warm hearted” or “sincere.” It is one of the most complimentary things one can say in Latvian. If I were to sum up my thoughts in one word on the sold-out Čikāgas piecīši concert, “Kad Latvijai bij’ 90,” in the Arēna Rīga on Independence Day, sirsnīgs would do nicely.

Though members of the group have made sporadic appearances in Latvia in the past years, the last true full band performance of the group in Latvia was in 1995. For this year’s concert tour, the performers were stalwarts Alberts Legzdiņš (vocals, guitar and group founder), Armands Birkens (vocals, guitar), Uldis Streips (bass guitar, vocals), Alnis Cers (guitar), and the returning Laurie Cinkuss (vocals) and Janīna Ankipāne (vocals, guitar).

This was actually the first time that I had seen the group in concert. Alhough I grew up in the United States, I never managed to see Čikāgas piecīši. So I was very much looking forward to seeing the group when it performed Nov. 18. It has been a very long time since the group was in Rīga, but time doesn’t seem to have had much effect on its members, particularly on Ankipāne and Birkens, who sound just like they did 30 years ago.

As the group has not had a new album since 1994’s Vai debesīs būs Latvija?, the concert—the third of a six-city tour of Latvia—focused mainly on the many hits Čikāgas piecīsi has had throughout the years, particularly from the 1970s and ‘80s.

For the most part, the audience in Arēna Rīga was rather subdued. The loudest applause was saved for Birkens’ performance of “Mūsu mīlestība” and his duet with Cinkuss on “Lai visa pasaule to redz.” Other highlights included Ankipāne’s performance of “Sapnis par Latgali,” the ever-popular “Pazudušais dēls,” the poignant “Kurzemnieki Viskonsīnā,” “Es redzēju bālēliņu” (which Cinkuss was quick to point out was not a folk song, though it has all but become one), and the rarely heard Birkens solo number “Roze.”

Guests included Māris Muktupāvels (of post-folk group Iļģi) on accordion for a few songs; men’s choir Gaudeamus, beer steins in hand, singing along with “Man garšo alus” (which featured notably different lyrics than the original recording); and a number of Latvia’s children’s ensembles performing on several songs.

The comedy skits that are often part of the Piecīši’s performances were minimal this time around, likely due to the fact that the group’s main skit writer, Uldis Ievāns, suffered a stroke a few years ago. However, Legzdiņš did provide a bit of comedy with a copy of the newspaper Diena, cracking wise about the newly opened Dienvidu (Southern) Bridge in Rīga, as well as the results of the latest U.S. presidential election. Another bit of comedy was in the song “Latviešu sievietei.” The original version of the song featured the line, “Nav viegli latviešu sievietei būt” (It is not easy to be a Latvian woman). But, in today’s environment, it was changed to “Nav viegli latviešu vīrietim būt” (It is not easy to be a Latvian man), with a man now expected to be as intelligent as former president Vaira Vīķe-Freiberga, not to mention as attractive as Latvian singer Linda Leen.

Were I to be pressed to say anything critical of the concert, I would point out the subdued audience, who, though very polite, didnt much participate in the concert by singing along. Legzdiņš himself had to plead with the audience (with little effect) to sing along. Perhaps this was due to the early starting time of the concert (4 p.m.), so not enough beer had been ingested yet. It would have been nice to hear more of Ankipāne. Though she certainly did get many chances to sing, her solos such as “Staburadze” or “Nāk rudentiņis” were missed. Also, I would have liked to hear a few more of the group’s 1960s songs. And, sorry gang, I could probably do without hearing “Sekss ir labs” for a while!

Latvia, being the home of so very many talented professional musicians, has many excellent concerts. Because so very many Latvians take their music so very seriously, many concerts wind up being over-professional, and, to some extent, even a bit “cold.” This was certainly not the case with the Piecīši concert, where one could tell that the members of the group were overjoyed to be back and performing on Latvia’s Independence Day in front of such a large crowd. Hopefully we won’t have to wait another decade for another concert!

One of the most recognizable voices of the Liepāja rock scene has always been Ivo Fomins. To honor his career so far, MICREC this summer released the compilation compact disc Labākās dziesmas.

Brother of legendary Latvian singer Igo Fomins, Ivo has always tended toward a harder rock sound while Igo—despite having spent time in the hard rock band Līvi—leaned more towards pop songs as well as theater music. Although he has often been in his brother’s shadow, Ivo established himself as a star in recent years, particularly through his work with Tomass Kleins in the duo Fomins un Kleins. Sadly, they have disbanded, supposedly due to the standard “creative differences,” with Fomins looking more towards a heavier sound in their music and Kleins embracing popular music. These trends are made clearer by the more aggressive sound on Fomins’ solid 2006 solo CD Palikt vienam, while Kleins went on to work with rising pop star Andris Ērglis in the group Cacao.

Fomins’ career did not start with Fomins un Kleins, but the duo’s popularity brought him many new fans. One of the first groups he performed with professionally was Neptūns during the mid 1980s. He was also one of the members of Liepājas brāļi. Other groups with which he has been associated include Libau and Melnā princese, where he performed with guitarist Felikss Ķiģelis. In 2003, he began work with Kleins, producing two excellent albums—2003’s Muzikants and 2004’s Dzimis Latvijā—and even participated in 2004’s Eurovision Song Contest with the tune “Dziesma par laimi.”

The bulk of the Labākās dziesmas collection is taken from the two Fomins un Kleins albums,  but two of their bigger hits, “Solījums” and “Sniegs,” are conspicuous by their absence. There is also an unreleased track, “Uz neatgriešanos.” It is odd that no space was found for another track, “Notiks tā kā jānotiek,” which can only be found on the collection 100% svaigs Nr. 8. But no matter. The work of the duo was outstanding and they produced some of the best Latvian pop-rock songs in recent memory.

Many of the tracks have been newly re-recorded, including one Fomins un Kleins song, “Muzikants.” The albums also has one completely new song, “Mēs dzīvojam pasakās.” I think it would have been far more interesting to hear the originals, so that one could follow the progress of this singer, but since many of these older recordings are no longer available, new versions are just as good. Songs re-recorded include the old Līvi track “Sniega velns,” as well as “Viņa raud,” from his solo album Palikt vienam. Both songs feature singer and actress Ieva Pļavniece, with whom Fomins performed on the Latvian reality TV show “Zvaigžņu lietus” earlier this year. Also re-recorded are two songs from Melnā princese, “Melna saule” and “Lūdz lai.” The song “Viena dziesma” from the new theater work “Liepājas stāsts” is included, too.

Lyrics for a few of the songs are offered in the liner notes, as well as chords for “Viņa raud.” Unfortunately, no real biographical information is included about the singer, and it is not made clear with which groups he originally recorded the older songs.

Otherwise this is an excellent set from an excellent vocalist. It is unfortunate that Fomins un Kleins broke up, since the best songs on this set are from the duo. Also, the songs chosen for this set do not indicate the heavier direction that Fomins went with his solo album. They seem to be re-recorded with a more “popular” sound for a larger audience. In any case, it is great to have these older songs, as well as the best of Fomins’ more recent work, all on one CD. As one of the most distinctive voices to have come from Liepāja, it is a well-deserved honor.

The composer of 20 full symphonies, Jānis Ivanovs (1906-1983) left an enduring mark on Latvian orchestral music. Much of what he composed is difficult to find on compact disc, but earlier this year Upe tuviem un tāliem released a collection of Ivanovs’ instrumental concertos—his cello concerto, violin concerto and piano concerto. The orchestra behind them all is the Latvian National Symphony Orchestra, conducted by Imants Resnis.

The highlight of the CD Jānis Ivanovs (1906-1983): Instrumentālie koncerti is the “Cello Concerto in B minor.” Composed in 1938 (before the Soviet occupation), the work shows Ivanovs at his melodic best. The cello is performed by Agnese Rugēvica, principal cellist in the Latvian National Symphony Orchestra as well as the Bergen Symphony Orchestra in Norway. The second movement, the “Adagio,” is particularly lyrical and haunting, emotionally expressed in the minor key.

This is one of Ivanovs’ best known works and it is clear why. The melancholy and stress of the work (elegantly brought out by Rugēvica) leave a lasting impression on the listener. Perhaps Ivanovs was sensing that war was soon to break out—or perhaps not. (The completist may also want to seek out the CD Janis Ivanovs: Orchestral Works, Vol. 2, released on the Campion label but long out of print. It features another excellent interpretation of the concerto, this time by renowned cellist Māris Villerušs.)

Thirteen years later, in 1951, Ivanovs composed the “Violin Concerto in E minor.” With Soviet occupation well underway, composition had a Stalinist ideology forced upon it. Music needed to be composed in a way that the people could understand. Even with that enforced ideology, Ivanovs crafted an excellent work, even incorporating some scenes from everyday Latvian life into the music. This performance features the young violinst Vineta Sareika, a graduate of the Paris Conservatoire who was nominated for the Latvian Music Award in 2007 for her performance of the concerto with the Liepāja Symphony Orchestra. Sareika adds a delicate touch to the almost naïve, though illustrative, melody, particularly in the first movement.

The most modern sounding work on the CD is the “Piano Concerto in G minor,” composed in 1959. Piano duties are performed by well-known Latvian pianist Juris Žvikovs, who teaches at the Latvian Academy of Music and who in 2006 released the excellent and thorough collection of Latvian piano music, Latviešu klaviermūizkas antoloģija. This concerto, composed at the end of the 1950s, helped usher in a new style in Latvian orchestral music that would develop further in the 1960s. It is characterized by more complex themes and even, at times, a certain amount of harshness. In contrast to the first and third movements, the second movement of the “Piano Concerto” displays Ivanovs’ trademark grasp of melody and interplay between the solo instrument and orchestra. Žvikovs seamlessly moves between the urgency of the first and third movements and the more melodic second movement, displaying an intimate knowledge of the work and how to present it.

Particularly notable about this release is the packaging. It is presented as a photo album, faux leather cover and all. There are plenty of pictures, as well as thorough liner notes on the composer, the works and the performers all written by Ilma Grauzdiņa. An English translation is provided. The packaging strikes me as a bit gimmicky, though it certainly stands out and shows a clear appreciation of the music and talent of the composer and the performers. At the same time that Upe tuviem and tāliem introduced the Ivanovs CD, it released a similar disc of instrumental concertos by composer Romualds Kalsons.

The packaging may be gimmicky, but the music certainly is not. These are some of the most important (and best) works of Latvian classical music, and are a worthy addition to any listener’s library. Though unfortunately long neglected, the orchestral work of Ivanovs is brought back out into the light by the always excellent Latvian National Symphony Orchestra and conductor Resnis, as well as the soloists. This great Latvian composer’s legacy remains assured.