Perhaps the best known modern Latvian composer is Pēteris Vasks. His name is often mentioned with other classical luminaries such as Estonia’s Arvo Pärt and Poland’s Henryk Mikołaj Górecki. His compositions have been performed and recorded by well-known ensembles such as the Kronos Quartet and Kremerata Baltica. He also has been awarded the Latvian Great Music Award three times—in 1993, 199, and 2000.

The term “modern classical music” may bring to mind dissonant, noisy, almost unlistenable compositions. Sure, there is plenty of that today, but I think one of the many reasons Vasks is the most famous Latvian composer in the world today is that he transcends all of the stereotypes about modern classical music. Certainly there are works of his that some may call “difficult to listen to,” not to mention “really depressing,” but that might be because so many of his works are deeply emotional and—unsurprisingly, as he is the son of a minister—intensely spiritual.

One field that Vasks particularly excels in is compositions of a sacred nature. An excellent example of this is Pater Noster, the 2007 compact disc of sacred choir music released by the Finnish record company Ondine. The CD contains the Vasks sacred works “Pater Noster,” “Dona Nobis Pacem” and the five-movement “Missa.” All the works are performed by the distinguished Latvian Radio Choir conducted by Sigvards Kļava. The Radio Choir is backed up by the orchestra Sinfonietta Riga.

The Latvian Radio Choir was founded in 1940 and is considered one of the best choirs in Latvia, which quite something, considering how many hundreds of choirs there are in Latvia. The choir has won the Latvian Great Music Award four times (1994, 2000, 2004 and 2005) and has won other awards all over the world. Sinfonietta Riga was founded in 2006, and is directed by the conductor and oboist Normunds Šnē.

The liner notes include the original Latin texts of the works, as well as English translations. Also contained is a revealing interview with Vasks about these works conducted by Ināra Jakubone of the Latvian Music Information Centre. Helpfully, the interview is translated into English, German, French and Finnish.

The work “Pater Noster” is quiet and sincere (it is a prayer, after all), not to mention very mature. It is a work that Vasks has said he believed he could only compose properly after he had matured as a composer. And, of course, there is the fact that during Soviet rule sacred music was frowned upon, so the work was composed in 1991, at the time of the renewal of Latvian independence.

“Dona Nobis Pacem” has only three words in it, so it is a particularly difficult task to compose a work that only repeats these words. Interestingly, with sacred works Vasks moves away from a more modern, experimental sound, to what the liner notes call “as traditional as traditional can be.” Vasks himself says these works contain “simple, honest sounds.” Such is “Dona Nobis Pacem,” a work that is absorbing through its 14 minutes.

“Missa” is a large form work of five movements: “Kyrie Eleison,” “Gloria,” “Sanctus,” “Benedictus” and “Agnus Dei.” This is actually the third version of the mass, as it was originally an a capella work, then revised for organ and choir. The most recent (and, as per Vasks, the final) revision is the one on the CD. It is for choir and orchestra. One can see why there will be no further revisions, as the strings work truly elevate this work, from the playfulness of the “Sanctus” to the piety of the “Benedictus.”

This collection of religious works is yet another testament to the power of the music of Vasks. From the subtle to the dramatic, always full of emotion, and with deep spirituality pervading all of the works, listening to this CD is a moving experience. It is an engrossing spiritual journey, made possible by the world class singing of the Latvian Radio Choir, as well as the clarity and sincerity of Sinfonietta Riga, reinforcing Vasks’ place among the greatest modern composers.

One source of continual amazement about life in Latvia is that most every town has a music school. Any student, should they so desire, can spend time learning about music and playing instruments. Unlike my experience growing up in the United States, when music education in public school was limited to less than an hour per day playing in band, Latvian kids, if they choose to, can spend multiple hours per day in music school. Though this is perhaps not the most practical use of their time, it does ensure that the musicians of Latvia are of a world-class level. It may not be good for the Latvian economy to have a nation of starving musicians, but it sure does make for a nice soundtrack.

Latvia-born violinist Gidon Kremer has long been aware of this. He formed the Kremerata Balica chamber orchestra in 1997, featuring young musicians from Estonia, Latvia and Lithuania. One of the key musicians in the group has been cellist Marta Sudraba, who has been with the group since its founding. Educated at the Latvian Academy of Music and the Guildhall School of Music and Drama in London, her playing has been one of the cornerstones of Kremerata Baltica. The record label Upe tuviem un tāliem, in its quest to spotlight talented young Latvian musicians, last year released Ex animo, a compact disc of chamber music works featuring Sudraba.

Sudraba is joined by pianist Ventis Zilberts on the CD, as they tackle the classic (Beethoven), the impressionistic (Debussy), Russian (Shostakovich) and Latvian (Vasks).

The Beethoven work is the Seven Variations on “Bei Männern, welche Liebe fühlen” (from “Die Zauberflöte) for cello and piano. I’ve always thought Beethoven was one of the most difficult composers to perform because so very many musicians have performed his work, making it difficult to stand out. However, Sudraba ably takes on this work. The original song is about love and is meant to be charming and playful, and Sudraba and Zilberts approach it with the necessary lightness to make the variations a joy to listen to.

Dmitri Shostokovich is represented by the “Sonata in D Minor for Cello and Piano.” Shostakovich, a 20th century Russian composer, often ran into trouble with the Soviet government, but is considered one of the greatest composers of that era. The sonata has a broad emotional range. As Sudaraba says in the liner notes, it displays “seriousness and craziness, mourning and sarcasm and light humor.” Deftly navigating the varied emotions, Sudraba brings out all the nuances of the work.

Modern Latvian classical music is represented by its most famous composes, Pēteris Vasks, and his work for solo cello, “Grāmata čellam.” This is another work of a very heavy emotional weight, as Vasks’ music can be very difficult and somber. Range again here is key. The first part of the work is fortissimo, and the second and final part is pianissimo, so the artist must be able to perform both the loud and the quiet, and give each part its own individual life. Especially in the fortissimo, Sudraba gives the work the urgency and tension expected. No less tense is the more melodic and subtle pianissimo, which also features Sudraba singing a simple melody over the sound of the cello.

To close out the CD, a work by the French impressionist composer Claude Debussy, the “Cello Sonata,” is included. Sudraba captures the very French charm of this work from the final years of Debussy’s life.

The packaging is excellent. Liner notes are in both Latvian and English and include short biographies of Sudraba and pianist Zilberts, as well as some discussion of the works contained on the CD. Upe tuviem un tāliem has once again done an excellent job in presenting a distinguished young Latvian artist. The CD highlights a truly gifted cellist, performing works of several different eras and styles, and is yet another document that shows why Latvian musicians are considered some of the best in the world.

The very fact that there still remains interest in Latvian music in North America is rather remarkable. The “glory days” of groups like Čikāgas piecīši and Trīs no Pārdaugavas, bands that could fill Latvian centers to bursting, has long since passed. However, Latvian music has remained a fixture at Latvian events—not just at song festivals but other events as well. Two musicians who have been keeping the flame alive are Edmunds Mednis and Ēriks Kīns.

Mednis, as readers might already know, was a longtime member of the popular Latvian šlāger group Bumerangs, playing drums and singing, as well as composing a number of the band’s most popular songs. Mednis, though born in Latvia, has been living in the United States since 1999. Ēriks Kīns, from the Chicago area, performed in such groups such as the Minnow Buckets and Adam Zahl. Mednis joined Adam Zahl in 2004 and in 2006 the duo branched out to work on their own material.

At Bumerangs’ 20th anniversary concert in Rīga on March 4, 2006, the duo appeared via video to perform their new song “Putni” (Birds). From there, the song became a major hit in Latvia, and the duo began work on a full length album, Lidojums, which was released this summer. On the record, Mednis no longer plays the drums, but sings and plays guitar and keyboards, while Kīns sings and plays guitars. They are joined by other musicians, including Artūrs Rūsis on guest vocals, Juris Skrajāns on guitars, Eduards Glotovs on bass and Vilnis Krieviņš on drums. The group has become popular enough that it was able to give a concert tour in Latvia this summer.

Listening to the record, one can understand why Mednis and Kīns have become so popular. Building on Mednis’ work with Bumerangs, as well as Kīns’ work with Adam Zahl, the group has recorded an album full of catchy and memorable songs. On their profile on the networking Web site draugiem.lv they describe themselves as “alt country.” Mednis’ vocals and the harmonies with Kīns give their music more than just a passing resemblance to Bumerangs—but this is a positive thing, as Bumerangs is far and away among the best of the legion of šlāger or country groups in Latvia.

Mednis is also a very talented songwriter, composing some of Bumerangs’ most popular songs, such as “Deju zāle,” “Klaidonis” and “Mazais ceļinieks.” He shows no sign of slowing down, as mega-hit “Putni” is also by his pen, as are songs like “Lidojums” and “Tevis man nav par daudz.”

Kīns also has a talent for songwriting. His tracks on Lidojums include “Kā tas var būt?” and two songs that had originally appeared on Adam Zahl’s Pirmā plate album: “Acu spēles” and “Iesim peldēties!”. There is also “Vaimanas,” a Latvian version (text by Kīns) of the song “Valentine” by alt country group Old 97’s.

To my knowledge, no other “new” Latvian group based in the United States has had a full album released in Latvia. The fact that Latvia’s largest music label, MICREC, has released their album is just another indication of the duo’s talent and hard work. With many catchy songs and soaring harmonies, Mednis and Kīns have a rare chemistry that shines through all the songs on Lidojums. This is one flight well worth taking.