For me, part of the fun of listening to Sus Dungo’s debut mini-album, Rasā pēdas, is the memory of using social media to track down band member Kate Pāvula at a vintage fair in Rīga this summer.

With the album not yet available in stores, Twitter was the way to locate her, chat for a bit and get my hands on the compact disc. Even without that personal connection, the album is pure joy.

Sus Dungo has carved out a niche in the Latvian music scene with its dūdiņroks or “fairy rock” style that fits in well with Rīga’s new hipster community. While the term dūdiņroks might suggest light or even saccharine fare, that’s not what the band offers. Sus Dungo lays down intricate tracks that pull the listener through each song. Yet it is music sweet enough that, after hearing it, one feels good and wanting more.

Sus Dungo began in late 2007 as a duet between Pāvula and Diāna (Sus) Čepurnaja. The band now includes eight young women: Anneli Arro on djembé, cajon drum and shakers; Marika Arro on bass guitar; Elizabete Balčus on flute and metallophone; Čepurnaja on voice, acoustic guitar and banjo; Liene Dravniece on accordeon and voice; Elizabeta Angelika Lāce on harp; Pāvula on voice and violin; and Marta Trofimova on electric guitar and ukelele. Careful media consumers might jump to point out that in photos and music videos only seven performers can be counted, but Pāvula confirmed in an email that Sus Dungo does in fact total eight. Čepurnaja has been studying abroad and that is why she is not always visible.

(Balčus also has recorded on her own. Her six-track EP Wooden Horse was released late last year. For more information, visit elizabetebalcus.com.)

Categorizing the band’s dūdiņroks music can prove difficult. Accordeon, harp and flute often dominate the music, while the voices at times feature strong solos, at other times something akin to a small choir. Sus Dungo’s profile on the music website ReverbNation suggests the band sounds like artists such as Björk, Katzenjammer, or Florence and the Machine. However, the Latvian group is neither as odd as Iceland’s Björk, nor as raucous as Norway’s Katzenjammer, nor as clarion as England’s Florence and the Machine.

Rasā pēdas begins with the dreamy “Atspulgs” (Reflection), which starts out with the sounds of accordeon and harp. As the track builds, the ebb and flow of the song is a good introduction to Sus Dungo’s style.

Next is the mini-album’s title track “Rasā pēdas” (Footprints in the Dew), followed by the jazzy “SQP,” featuring bird sounds and Balčus playing the flute. “Mier loul” (Sea Song), the title of which is in the Livonian language, is a simple instrumental highlighting Lāce’s harp. “Tēta darzā” (Dad’s Garden) speaks of the sanctuary that is a father’s garden.

My favorite track is “Jasmīna lietus” (Jasmine Rain), perhaps because it is one of the tracks not previously heard as a single or YouTube video.

The mini-album concludes with “Balle ar Viegli,” with lyrics drawn from the work of poet Imants Ziedonis. The song muses about a beautiful dance here on earth and the thought that it is a reflection of an even more beautiful one going on in heaven. The song was recorded with members of the Viegli Fund, an effort by Prāta Vētra’s Renārs Kaupers and other Latvian creative types to support projects that reveal the country’s beauty.

My only “complaint” about the CD is its length. The eight tracks amount to just 35 minutes of listening. Of course, the recording is billed as a mini-album and not a full-fledged release, but I am left wanting more of Sus Dungo.

For more on Sus Dungo, visit the band’s website at susdungo.lv, its Facebook page or its page on the draugiem.lv social network.

A pleasant half-hour video of the band performing at the Piens Club in Rīga can be viewed on Vimeo. The concert includes both covers and Sus Dungo’s original songs. Videos may also be found on Sus Dungo’s YouTube channel.

Rasā pēdas should soon be available in Rīga stores and online through eKase.lv, according to Pāvula.

Of all the difficult professions to hold in Latvia, one of the most difficult is being a professional musician. Between giving concerts, teaching students both privately and at the Latvian Academy of Music, recording albums – often without major financial reward – one must truly be an exceptional individual to be able to find time for all of this and still enjoy their work.

Some musicians do even more – such as countertenor Sergejs Jēgers – who even finds time to run a charity. Yet Jēgers found the time to record an album of sacred songs, mainly from the Baroque era, entitled Ave Maria, released in late 2011. All songs are backed by organist Diāna Jaunzeme.

This is now Jēgers’ fourth solo album – after his debut in 2006 with Ave Musica, a collection of baroque era songs, followed by a duet album in 2007 with saxophonist Artis Gāga entitled Duende, and interpretations of Latvian folk songs in 2009 accompanied by Sinfonietta Rīga – Dziesmiņās remdējos.

Quite coincidentally, Inese Galante fans that picked up her latest release, The Soul of Rīga (2011), will recognize a number of these songs, as some of them appear on both albums. It is actually quite interesting to hear and compare the two interpretations, particularly because both albums feature a singer accompanied by organ. Additionally, both records were recorded in the Rīga Cathedral, reaffirming the church’s status as the premiere venue for sacred recordings. In fact, in the liner notes, Jēgers notes that Galante suggested and inspired some of the selections on this CD.

Jēgers is clearly most at home singing Baroque melodies, and this collection is another testament to that – listeners will find both well-known and obscure songs on this collection. Perhaps the best known Ave Maria is the version by J. S. Bach and Ch. Gounod, which is also the first track on this CD – even though it is well known, Jēgers brings the necessary reverence and spirituality to his rendition, making is a particularly memorable one.

However, not all the songs are Baroque era tunes – there are a number of songs from later eras. These songs, such as Saint-Saëns’ Ave Maria and Franck’s Panis angelicus are also highlights of this collection. Panis angelicus being such a well-known melody that it can often times be difficult to bring something new to the song or to do the song justice, however Jēgers’ soaring voice brings new life to these works.

The most recent work on the CD – the Ave Maria by Russian guitarist and composer V. Vavilov, is perhaps one of the more interesting and enjoyable songs on the album. Though it is a “20th century” Ave Maria, the vocal lines and accompaniment certainly sound as if they were from the Baroque era or earlier.

One of my favorites on the album is the version of “What Power art Thou” by Henry Purcell (from the opera “King Arthur”), which, though it was composed in the late 17th century, its chromatic and staccato-like melody give it a very modern sound.

The liner notes have brief biographies of Jēgers and Jaunzeme in Latvian and English.

Ave Maria is yet another memorable release from Jēgers, who demonstrates, once again, his immense talent in performance and interpretation. This could very well be considered a companion recording to his first solo CD – Ave Musica, as both feature Jēgers performing (mostly) Baroque era sacred works. It is always intriguing to find out what Jēgers plans for his next recording – as both Duende and Dziesmiņās remdējos were both quite different and original. The voice of Jēgers, along with the organ played by Jaunzeme, make for a particularly vivid and enjoyable listen.

More information can be found on the artist’s website:www.sergejsjegers.lv

One of the most shocking pieces of news in the Latvian music world recently was the announcement that conductor and artistic director of the youth choir Kamēr… Māris Sirmais would be handing over the baton after twenty two years at the helm.

Generally accepted to have single-handedly brought the choir the international success that it has, Sirmais was instrumental in realizing almost all of the projects and concerts that the choir has taken part in. Though technically an amateur choir, the singers are expected to not only have exceptional musical skill, but also are expected to dedicate a sizable amount of their free time. I once read that in preparation for their World Sun Songs concerts a few years back, the choir would rehearse twenty hours a week! Very few could inspire a large number of people to give so much of themselves – but Sirmais was able to do it for almost a quarter century.

Along with international success, Kamēr… have also become known for working with Latvian composers to premiere their works. A case in point is perhaps the best known young Latvian composer Ēriks Ešenvalds, who in his relatively short career has made quite a name for himself, skillfully composing in a number of different genres, and even being named “Fellow Commoner in Creative Arts” at Trinity College Cambridge. Ešenvalds has had arguably his greatest success in the field of choir music composition, and the choir Kamēr… has been, I think, a significant catalyst in that success.

To celebrate the long-term collaboration between Ešenvalds and Kamēr…/Sirmais, a CD of the choir performing the works of Ešenvalds, O Salutaris, was released in late 2011.

I would first note that the recordings here are not all new recordings. In fact, if you already have the Kamēr… CDs Veltījumi and Mīlas madrigāli, you will already have a number of the performances contained on O Salutaris. However, if you are not familiar with Kamēr… or Ešenvalds, this is an excellent CD to begin with.

Ešenvalds is able to deftly balance the popular and the avant garde, the simple and intricate, the sacred and secular, as well as the modern and the classical in his works. A beloved song recently in Latvia has been Renārs Kaupers’ “Mazā bilžu rāmītī”, with words by Imants Ziedonis, a tender sentimental song about a small picture frame. The choir arrangement is just as appealing as the original interpretation of the song, with the guitar melody now being sung by the female voices.

Just about every Latvian composer arranges Latvian folk songs, and Ešenvalds is no exception – this CD contains his arrangement of ‘“Aizej, lietiņ!”, which was one of the highlights of the 2008 Song Festival in Rīga. The Midsummer-themed song, featuring traditional-style Latvian singing, is an almost meditative prayer for the sun to come out. Particularly notable are the solo performances by Ilze Rube and Zane Pērkone.

Ešenvalds has also made no secret of his affinity for spiritual and sacred works. “A Drop in the Ocean” is dedicated to Mother Teresa, there is an arrangement of the song “Amazing Grace” (lyrics by John Newton), and one of the highlights of this CD is the first recording of “O Salutaris Hostia” (adapted from Holy Scripture). The harmonies of the two soprano soloists – Terēze Upatniece and Gita Rebeka Dirveika – add an almost shimmering texture to this beautiful work.

The bulk of the CD is taken up by extracts from the Christmas work “Ziemassvētku leģenda”. On these extracts the choir takes a more supporting role, supplementing the performances of solo singers Renārs Kaupers of Prāta vētra, as well as ethno-musicologist Valdis Muktupāvels and Jānis Apeinis of the Latvian National Opera. The work is about the three Kings who make their way to Bethlehem.

The booklet contains Edgars Raginskis brief interview with Māris Sirmais, as well as Ešenvalds’ notes on all the songs in Latvian, English, German and Russian.

Though Māris Sirmais’ tenure with Kamēr… has come to a close, this final document (for now) is yet another testament to the abilities and skills of this one-of-a-kind conductor. The vivid and emotional performances contained in these recordings are evidence of both Ešenvalds’ compositional skill and Sirmais’ conducting wizardry. Now that long time conductor Jānis Liepiņš is the new artistic director for Kamēr…, there will be quite a burden on his shoulders to maintain the same artistic and musical quality that Kamēr… has had for decades now. O Salutaris is a document of a choir and a composer at the peak of their abilities.