For Latvian popular music, 2001 was another memorable year. Old faces returned (such as Prāta Vētra, Credo and Labvēligais Tips), new faces emerged (for example, The Mundane and Māsas). Autobuss debesīs released their first record, rap music continued to develop in Latvia, and dance music became more diverse. Where should the uneducated listener start? Now that broadcasters such Radio SWH and Latvijas Radio 2 are available on the Internet, a listener anywhere in the world can hear the newest sounds in Latvian music. That, or they could purchase the latest summary of Latvian music, the second installment of the SuperIzlase series, SuperIzlase 2.

As they did in 2000, the record companies of Latvia came together with a common goal: to sell more records. How better to do this than with a compilation of all the hits of 2001 on one compact disc? Participants in the 19-track SuperIzlase 2 include MICREC, UPE Recording Co., Baltic Records Group, Platforma Records and Rīga Records.

As always with these kinds of compilations, you get a widely divergent group of songs. It is doubtful that there will be one listener who likes all the tracks, but ideally all listeners should like at least one. Though there are many performers who are alumni of the first SuperIzlase release, about 10 see their first appearance in the series.

Rock fans should have their appetite sated with this collection, as there is plenty on here that could appeal to them. Even if you are like me and had already heard (and bought) most of the rock releases that are represented on here, there is still a good chance that there will be something new on here for you.

Prāta Vētra (BrainStorm) contributes two tracks from their 2001 release, Kaķēns, kurš atteicās no jūras skolas. There is the English-language “Maybe” (oftentimes the English language tracks make me cringe, but this I like). There is also the “acoustic version” of their song “Visskumjākā parāde uz mūsu ielas,” which is different than the version on the album. What’s nice about this version is that it is played on guitar, an instrument not heard often on Kaķēns.

Other rock releases include two songs with music by Imants Kalniņš: a duet betwen Ainars Mielavs and Rēzija Kalniņa, “Apturi mani,” and the Autobuss debesīs song “Ir tikai tveice.” From Tumsa’s latest release, we get the song “Lai būtu tā” (probably the most “listener-friendly” song from their latest album). Labvēlīgais tips’ lyrics continue to become even stranger. The group is represented by the song “Koka klucis Konstantīns”—guaranteed to cause puzzled faces on listeners everywhere. Credo also provide their most “accessible” track, “Tur aiz mākoņiem ir saule,” from their latest album.

Because these kinds of compilations are usually geared towards younger listeners, there is plenty of pop and dance and other such things. Latvian Eurovision representative Marija Naumova appears on two tracks. The first is “Hey Boy, Follow Me,” a catchy, somewhat Latin-sounding song. The secong is a duet with Normunds Rutulis, “Kūko, kūko dzeguzīte,” which strikes me as being a song for the particularly young listener. “Kūko” also features the music of Raimonds Pauls.

Latvia’s own Mariah Carey, Linda Leen, appears on two duets with Arnis “Spaceman” Mednis. The first is “Noktirne,” the music for which I was very surprised to find out was not written by Raimonds Pauls, although it sounds very much like him. Famous Latvian soprano Sonora Vaice also adds some vocal melodies to “Noktirne.” Leen and Mednis ditch Vaice for their next song, the super-slick ballad, “Not to Fall Again.”

Heartthrob Gunārs Kalniņš’ entry for this album is the song, “Pērles un dimanti,” another super-slick pop song that should keep his legions of pre-teen female fans happy.

Dance group A-Eiropa perform the song “Meitenes Rīgā,” while Igo also submits a super-poppy song, “Ir labi kopā būt,” that sounds more like it belongs in the 1970s than the 21st century. Another favorite of the younger crowd is Latvian rapper Ozols, who performs “Bokss.” Also in the rap vein is the song “Rītdiena” by the group Device. BTH, formerly known as Braithouse, also provides a dance song, “Last Christmas.”

One reason anyone buys these kinds of collections is to find out if there is anything new that they had not heard before. In my case, though I had already heard most of the music that I would have liked, there were a couple of things that got my interest. I had not heard of the rock group The Mundane, but I really liked their song “Nav viegli būt tev.” I also like the more poppy group Māsas and their song “Dāvā laimi.” I will have to investigate these groups more on my next sojourn to Latvia.

The liner notes are pretty sparse. Last year they at least had pictures of the groups, but not this year. Also I think it would help in marketing to name the album from which the track was taken and to include any Web sites for the bands or the record labels.

How times have changed since the days of Soviet-style elections even in the music world, when you had the choice of Raimonds Pauls, or… well… Single party systems are a bit of a drag, aren’t they? It is still amazing how varied the Latvian music world has become and what selection a listener has, be they old, young or just very fussy. For a quick overview of where Latvian music stands today check out SuperIzlase 2. It may lead you to discover much of the great music and the great bands in Latvia today.

I first read about this compact disc, released in December 2001, on one of my many virtual journeys on the Web. I was quite excited as I know there is not much out there in the way of recordings of Latvian “dancing games” (or rotaļas as they’re called in Latvian) and made a mental note that I must get a copy of Latviešu rotaļas as soon as I can.

The album is the second by Maskačkas spēlmaņi, a Rīga-based folklore group formed in 1995 and led by Ansis Ataols Bērziņš. It includes 27 songs chosen from the book, Latviešu rotaļas un rotaļdejas by Harijs Sūna.

Ever since I’ve had children (they’re six and three years old now) and started teaching Latvian folklore at the local Saturday school, I’ve been scouring the Web (and music stores when I was in Latvia) for music to play to my kids and resources that will help me with lesson preparation. In recent years there have only been a few CDs released that tackle this subject: Latviešu danči and Danco Dievis, both produced by UPE Recording Co. as part of the Latvian Folk Music Collection, and Rotaļas un danči, recorded by Skandinieki.

I feel this part of Latvian traditional folklore is extremely important as it is the introduction to Latvian folk dancing for the very young. In my classes the kids love it when I say, “Iesim rotaļās!” (Let’s play a game!). They, I’m sure, presume that while we’re doing rotaļas, they’re not really learning anything. I know better: The more rotaļas I can get into their memories, the better.

These supposedly simple games are most certainly not only for the young. Rotaļas were danced for centuries at family celebrations not only by children but by everyone who had the strength to get up and move to the music. The dance steps are easy to learn and the beat of many of the dances is merely a gentle shuffle, a far cry from the polka-jumping and intricate maneuvers required for the folk dances that you see on stage at Dziesmu svētki or other more formal occasions.

In Latvia, you’ll even find venues both in Rīga and Daugavpils devoted to just that: simple dances that may be only a tad more difficult than the basic rotaļas you learnt as a child. Rīgas Danču klubs and Laimas Muzykantu danču krodziņš both open their doors to anyone who is interested in dancing these basic steps, which at the same time are ancient and therefore culturally and historically meaningful. Ilga Reizniece of post-folk group Iļģi fame is also very devoted to the passing down of these traditional dances. At the two 3×3 cultural camps I have attended (one in Melbourne, Australia, and the other in Rucava, Latvia), she had everyone who was interested learning these simple dances in a few minutes.

Latviešu rotaļas will certainly further this very worthy cause. First, I am very pleased that the text is both in English and Latvian (therefore available to a wider audience) and the quality of the English doesn’t make you cringe. Second, and more important to me for lesson preparation, are the clear and concise explanations of the steps of each rotaļa. I had already consulted quite a few folklore books, which had explanations of the steps to many dancing games with accompanying musical notes, but for a musically challenged person such as me (I never learnt an instrument) they were of little use.

Maskačkas spēlmaņi definitely show musical talent and, more importantly, they seem to possess the “oomph” required to make people want to join in and dance along with the others. I highly recommend this CD to anyone who is interested in traditional Latvian culture be it at home, in a classroom situation or some other group setting.

So slip on your pastalas, put the CD on and learn some new rotaļas. And don’t forget to include the younger generation. Your children or grandchildren will be so pleased with your interpretation of spending quality time with them!

The world of Latvian classical music contains many treasures that are unfortunately known only to Latvians. Hoping to rectify this situation, in 2000 UPE Recording Co. released the album Latvian Millennium Classics. This was a collection of some of the best-known works in Latvian classical music, designed as an introduction to those—like me—less schooled in the genre. Realizing that just one collection could not possibly be enough, UPE released another, Latviešu klasikas dārgumi, in 2001.

This release again collects a number of well-known works by Latvian composers onto one compact disc. The major difference this time is that all the works on the record are performed by the Liepāja Symphony Orchestra, conducted by Imants Resnis. Latvian Millennium Classics had many different performance types (orchestral, solo instruments, choir), while all the tracks on this CD are orchestral.

Though there is quite a good deal of overlap between the two discs, having all the pieces performed by the same orchestra adds a flow and continuity to Latviešu klasikas dārgumi that was not present on the earlier record. The LSO is held in high regard in not just Latvia, but the rest of the world as well. This CD is a testament to that fact. The orchestra is able to bring out the best in just about any piece it plays, and is especially capable of doing tremendous justice to the works of Latvian composers.

The album starts off with two pieces by Andrejs Jurjāns, “Ačikops” and “Barkarola.” “Ačikops” is from the “Latvian Dances Suite” and is a tribute to Latvian folk dances in style and melody. One can almost imagine the folk dancers dancing around in circles and clapping along when listening to this piece. Just as on Latvian Millenium Classics, “Barkarola” features the beautiful french horn of Arvīds Klišāns.

No symphonic anthology would be complete without one of the most famous pieces of Latvian classical music, “Melanholiskais valsis” by Emīls Dārziņš. The melody is at once simple, beautiful and memorable.

Jānis Mediņš also gets two pieces on the album, “Ārija” and “Ziedu valsis” from the ballet “Mīlas uzvara,” an excellent sample from this prolific composer’s output. Mediņš had one of the richest portfolios of compositions, and these two pieces show why the Latvian people held him in such high regard.

The somber piece “Rudens” by Alfrēds Kalniņš is another highlight. The composition was completed in 1941, and, intentional or not, its dark melody foreshadowed the difficult times ahead for the Latvian people.

With Latvian Millenium Classics, I lamented the fact that two of my favorite Latvian composers, Jānis Ivanovs and Imants Kalniņš, were not included. I was very pleased to find that both composers were represented on this release. Their absence on the earlier release is more than made up for here, as the beauty of Ivanovs’ compositions are displayed in two pieces: in the second movement of his “Cello Concerto” and in fragments of the music from the film Salna pavasarī. The “Cello Concerto” features Agnese Rugēvica on cello. She is able to bring out the sublime beauty of the piece. Ivanovs’ “Cello Concerto” is one of my favorite pieces of Latvian classical music, and this performance of it only reinforces my belief.

Imants Kalniņš is represented by the second movement of his “4th Symphony,” one of the most popular symphonies written by a Latvian composer. Its unique blend of all kinds of styles has ensured this symphony a permanent place in the annals of Latvian music. Even though this symphony was written 30 years ago, it still sounds fresh, thanks to the skill of the Liepāja orchestra. It alternates between the playful and the aggressive, and the merging of these two styles is what makes this piece so dear to so many listeners.

Jānis Mediņš’ brother Jēkabs also gets a track here with his work “Leģenda.” This is another dark and sad piece, and it sounds almost mystical to me, as if it was trying to recall many an ancient Latvian folk legend with its music.

World-reknowned Latvian composer Pēteris Vasks’ talent is displayed by the inclusion of the “Cantabile for String Orchestra.” As the liner notes indicate, Vasks’ focus is more on human emotion, rather than on events or the current time. The liner notes also say that the “Cantabile” has to do with the expression of joy, but it sounds rather bleak to me! That is no matter, as Vasks is at his best when he is documenting deep sadness and pain, which few other composers can do as well.

Finishing off the album is one section of the longer suite “Kāzu dziesma” by Romualds Kalsons. Kalsons, along with Vasks and Imants Kalniņš, make up what are called the “new voices” of Latvian classical music, each with their own unique style and interpretation. Kalsons’ piece is one of celebration, and it is a fitting end to this celebration of Latvian classical music.

I particularly wanted to commend UPE for the liner notes (in Latvian and English) that accompany this album. They provide much more in-depth documentation about each of the composers and their works, as well as the Liepāja Symphony Orchestra. This is far better than the rather anemic notes provided with the Latvian Millennium Classics release.

Through almost 70 minutes of music, the Liepāja Symphony Orchestra traces the growth and evolution of Latvian classical music, through some of the best-known composers and their best-known works. This is a task of rather epic proportions, because there have been so many styles through the last 100-plus years of music in Latvia, and it is a difficult job for one orchestra to do it all justice. However, the LSO is well up to the task and the results are admirable. Latviešu klasikas dārgumi pays homage to all the great music that has already come, and leaves the listener in eager anticipation of what the next century of Latvian music might bring.