One has to admire the palm tree. Even in the most oppressively hot and dry desert weather, it is able to stay green. In Latvian, this concept is expressed as “palmas zaļo vienmēr” (palms are always green), a phrase that is an expression of hope in the face of adversity. This phrase was most likely coined by playwright Venta Vīgante, who wrote a play with the same title. Late last yar, veteran Latvian group bet bet borrowed the title for its latest compact disc.

bet bet, which celebrated its 15th anniversary in 2006, formed in 1991. Violinist and singer Zigfrīds Muktupāvels came over from the defunct Zodiaks. Well-known Latvian lyricist, drummer, music industry executive and occasional vocalist Guntars Račs came from a short stint in Jauns mēness. Rounding out the group at its founding were Uģis Tirzītis on guitar and Aivis Kalvāns on bass, both also formerly of Jauns mēness. Former Zodiaks guitarist Aivars Gudrais also joined the band briefly in the early days. Bassist Kalvāns departed the group in 2006 and was replaced by Andris Alviķis. The group’s lineup as of the recording of Palmas zaļo vienmēr was Muktupāvels, Račs, Tirzītis and Alviķis.

Six years passed since the release of the band’s previous album, 2000’s criminally underrated Ceļš, kuru iet. Though the group was sporadically working on songs, and a few singles did appear over that time, Palmas zaļo vienmēr finally appeared in October 2006. And it was worth the wait—bet bet has once again released a great collection of songs in the group’s own unique style.

One might think that with the musical pedigree that these guys have, they would create epic and complex works, but their work is of a quite different style. From their earliest work—popular songs like “Man vienalga viss” and “Diena”—their songs were simple, catchy and with a touch of humor that is often lacking in Latvian music. One might compare them to the American group the Traveling Wilburys, also made up of respected musicians and performers who recorded music that was deceptively simple with a touch of humor.

One of the songs on Palmas zaļo vienmēr is the tongue-in-cheek “Nekādu problēmu” (No Problems), with music and words by Račs. The song first appeared on the 100% svaigs Nr. 7 collection, released in 2004. A slow and leisurely song about not having any problems and “es nēesmu nevienam sunim parādā” (I am in debt to no dog), it became very popular. Interestingly, the version on Palmas zaļo vienmēr has been completely redone from a musical perspective. It now is much more up-tempo and Muktupāvels adopts a much rougher sounding voice when singing. To be honest, I prefer the original, slower version.

Another plant that grows in extreme conditions is the cactus, and this plant also gets an ode of its own: “Kaktuss,” with music by Tirzītis and words by Račs. No matter what is going on, the cactus behind the window is colorfully blooming.

It is not always Muktupāvels who handles the lead vocals. Račs handles vocal duties on “Uz jauno krastu” and guitarist Tirzītis sings on one of my favorite tracks, “Mēmais kino.” And not all the songs are cheerful. The somber “Kas mani pie tevis tur” asks the questionm “Kas mani pie tevis tur un neļauj prom iet” (What binds me to you and prevents me from leaving?).

A nod to their influences and a fitting conclusion to the album comes in the Latvian version of the Hank Williams song “Jambalaya.” In Latvian it is known as “Džambulaja” (with Latvian text by Alfrēds Krūklis).

The packaging includes all lyrics, and the cover features an odd picture of the band dressed as mechanics in a sea of tires—perhaps an ode to the fact that these “simpler” songs are more intended for the “common man” rather than some erudite musical scholar. Or perhaps it is just meant to be an amusing picture.

Six years is a long time to wait for any album, but it was worth the wait this time, as bet bet has delivered yet another infectiously listenable recording, full of songs that quickly grow on the listener. The band’s sense of humor and also a sense of joie de vivre are evident. The album confirms bet bet as one of the best and most consistent Latvian acts performing today.

An oft-overlooked aspect of Latvian classical music is that produced by composers in the diaspora. The recent major recordings of Latvian classical music cover the most well-known composers such as Pēteris Vasks and Imants Kalniņš, however, almost always the composers represented spent most of their lives in Latvia.  So it is quite a pleasant surprise to find out about flutist Ilona Kudiņa’s On the Bridge (Uz tilta), a two-compact disc collection of chamber music by diaspora Latvian composers.

Due to the upheavals of the mid 20th century, many Latvian composers found themselves outside of Latvia, and remain there to this day. Many have achieved success and have composed many great works, but are rarely included in recent Latvian classical CD releases.

All the works on On the Bridge feature the flute because this project was organized and realized by Kudiņa. Kudiņa was born in Latvia, but after completing her studies at the Berklee College of Music in 2003 remained in the Boston area, teaching and performing. Since her broad repertoire includes works by diaspora Latvian composers, she had the idea of collecting many of these works and releasing a CD.

It is fortunate someone took the initiative to compile a collection like this. Besides the fact that many of these works are rarely heard and many of these works (and composers) are rarely represented on CDs, this is an excellent collection of compositions and performances. These days, when CDs featuring Latvian composers and performers are becoming more and more plentiful, this is one collection Latvian music fans as well as classical music fans should not pass up.

The collection begins with “Rhapsody for Flute and Piano” by Jānis Mediņš, who resided in Sweden after leaving Latvia. As if to announce that this collection is work of Latvian composers, the track contains allusions to Latvian folksongs, such as “Pūt, vējiņi!” and “Skaisti dziedi lakstīgala.” Piano on this work is performed by Ventis Zilberts.

As is to be expected, Latvian composers are often influenced by their environments, and often may compose works based on decidedly un-Latvian themes and ideas . For example, Latvian-Canadian composer Tālivaldis Ķeniņš’ “Fantasy – Variations on an Eskimo Lullaby Theme,” is a work for flute and viola (performed here by Arigo Strals). Another example would be Latvian-Australian Edgars Kariks’ “Suite of Three Works for Flute,” particularly the second work, “Vocalise of the Blessed Spirit,” which was influenced by the composer’s birthplace of New Guinea.

Of course, there are works that are influenced by Latvia, as well as vocal works in Latvian. For example Latvian-American Dace Aperāns’ “Pienenei, kas uzziedējusi novembrī” (“For a Dandelion Blooming in November”), which is based on lyrics by poet Knuts Skujenieks. This work, for flute, piano (Zilberts) and voice (Antra Bigača), was written in 1968 when Skujenieks had been sentenced to a prison camp for his “anti-Soviet activity,” the dandelion being a symbol of the desire for freedom.

Other composers featured in the collection include Arnolds Šturms (United States), Albert Jērums (Great Britain), Andris Vītoliņš (Sweden, currently in Latvia), Helmer Pavasars (Great Britain), Pēteris Aldiņš (United States), Mārtiņš Aldiņš (United States) and Imants Mežaraups (United States, currently in Latvia)—giving the listener a broad panorama of diaspora Latvian composers, both past and present.

The two CD collection comes with a very informative booklet, including short biographies of all the composers represented, as well as descriptions of all the works included. Oddly, there is no biographical information of the principal artist, Kudiņa herself.

This is a vital collection of works by composers, who, though being part of the Latvian diaspora, are no less important than the composers who remained in Latvia. Admirable in her goals, compelling in her performances, as well as establishing herself as one of the premiere Latvian flautists, Kudiņa has put together a collection that will resonate with not just Latvian classical music fans, but all fans of the chamber music genre. From Australia to Europe to North America, Latvian composers have been making their mark in the world of classical music, combining local and Latvian influences to weave a tapestry of color and sound, and this collection is proof positive of the success of their endeavors and should not be missed.

Due in part to the Latvians’ propensity to sing, there are a bewilderingly large number of choirs in Latvia. Most every institution—be it educational or commercial—has a choir (for example, the Lattelecom Choir or the Hansabanka Choir). Latvia even has a government sponsored choir, Valsts Akadēmiskais koris Latvija (State Academic Choir Latvija). You might expect the choir, being state sponsored, to be one of the best in Latvia if not the entire world. And you would be right. Latvija, along with highly respected conductor Māris Sirmais, has made a name for itself worldwide and has won the Latvian Great Music Award on a number of occasions.

Latvija also makes a point of performing and recording new music. This is not your average choir singing old standards. It is always at the forefront in terms of working with the composers of today and performing recently composed works, not just by Latvian composers, but by international composers as well (for example, the choir recently worked together with composer John Taverner). In 2006, the choir released a compact disc containing two such new works by Latvian composers: Ēriks Ešenvalds’ “Passion and Resurrection” and Rihards Dubra’s “Te Deum.”

Latvija also performs many different types of choir works, mainly focusing on large scale works such as oratorios and masses. On this CD, both works, as is obvious from their titles, are sacred works, the performance of which is one of the strengths of Latvija.

Ešenvalds’ “Passion and Resurrection” is a work in four movements and is based on the story of the suffering and rebirth of Christ, with text taken directly from the Gospels (and some other sources), both in Latin and in English. Assisted by the Liepāja Symphony Orchestra, Latvija take this powerful work and imbues it with the necessary dynamic so that the full scale of the suffering of Christ is brought through in the performance. Ešenvalds is a rising star among Latvian composers. The young composer skillfully takes such a weighty and well-known topic and develops a major work of power and subtlety. Ešenvalds himself is a tenor in Latvija, which gives the choir a particularly personal insight into the performance of this work.

The second work Dubra’s “Te Deum.” It is a truly epic composition. Although just under 15 minutes, this song of praise to God is breathtakingly moving. The sheer number of artists required to perform the work indicates its scope: boys’ choir, girls’ choir, women’s choir, men’s choir, two mixed choirs, soprano saxophone, French horn, two sets of bells, tam tam and, if that was not enough, organ. Latvija is joined on the recording by some of the brightest stars of choir music, including the Balsis youth choir, the Kamēr youth choir, the Rīga Dome Choir School Girls’ Choir, as well as the Rīga Dome Boys’ Choir. The performance of “Te Deum” as part of the 2003 Song Festival was considered one of the defining moments of the event, and not for nothing did Dubra receive the Great Music Award in 2004 for the composition.

One of the highlights of the CD is the packaging. It features extensive detail about all the performers and composers in Latvian, English and even German. But it also includes unnecessarily extreme close-up shots of the composers and some performers. Do I really need to be able to see into Dubra’s nose? Yipes! Full texts of the works (with Latvian translation) are also available in the booklet.

The State Academic Choir Latvija (and friends) has released a remarkable CD that all choir fans, as well as all sacred music fans, will appreciate. Sacred choir music is a genre that is alive and well in Latvia, and Latvija, being one of the best performers of this type of music, along with two great works by composers Ešenvalds and Dubra, make this CD an essential purchase for choir music connoisseurs.