Justina Repeckaite 2020

Press & podcasts in Lithuanian

Posted on January 18, 2022


Šarūnas Nakas, composer and cultural critic, prepared a radio essay Alchemy. Justina Repečkaitė (2020) for Lithuanian National Radio :“It seems like Repečkaitė is some kind of a situational alchemist: her compositions are like life cycles of sonic figures, also, sounds themselves are very materialistic. Processes are quite plant-like, truly organic: withering, germinating, unfolding, wilting, bursting into bloom, blossoming.“ More from the website.

Listen to the podcast The Time stoping music of Justina Repeckaite (2020) on the radio show Sound expedition (Garso ekspedicija) by Rasa Murauskaite on the Lithuanian National Radio Klasika here“The third Sound expedition itinerary leads to the hypnotising and time stoping Justina Repeckaite’s music labyrinth.The creator travelled from Paris to Vilnius to listen to her premiere of Vellum played at the international contemporary music festival Gaida.” (more…)

Tempo , Volume 76 , Issue 299 , January 2022

TEMPO Darmstädter Ferienkurse 2021 on Pulsating Skin

Posted on January 18, 2022

In an article Darmstädter Ferienkurse 2021 from the journal TEMPO (Cambridge University Press) musicologist Max Erwin writes:

“Right next door in front of the steps leading up to the Ludwigskirche, Justina Repečkaitė’s Pulsating skin began as four snare drum membranes began to vibrate from the effect of transducers placed on their underside, just as the title promised. The four percussionists here – Corentin Barro, Romane Bouffioux, Pablo Mena, and Federico Tramontana – acted not so much as traditional action-oriented drummers but more like the gardeners or doting chaperones of the sounds their instruments produced as they evolved, a task they accomplished with both surgical focus and elegant sensitivity. This piece really just worked – it adapted to the outdoor space and transformed it, creating a new environment while somehow not backsliding into sound installation territory. To underline this point, as I write this, I can’t really remember a single specific aural event from Pulsating skin (and, since this was one of the few concerts not recorded and broadcast online, I can’t refresh my memory), but the overall impression and sensation of it – inviting, constantly changing, gritty and lustrous – are fresh in my mind. It was generally agreed that, had a Kranichstein prize been awarded this year, Repečkaitė would have been a strong frontrunner.”


La Cité des Dames for 6 Sopranos, page 10.

Reviews in French

Posted on February 7, 2021

Reviews in French on Justina’s music from Télérama, Journal Zibeline, Resmusica and Anaclase.


Au festival Nouveaux Horizons, Renaud Capuçon défend les jeunes talents de la composition : voici nos cinq préférés

Cette Lituanienne résidant à Paris a beau s’être passionnée dans ses études pour la culture du bas Moyen Âge, sa musique n’en demeure pas moins très actuelle. Frottements oppressants. Tensions exacerbées. Timbres triturés, décomposés puis recomposés électroniquement. Ses œuvres sont tissées de polyphonies froides et blanches. À l’image de Tapisserie (2015), qui se présente comme un lacis complexe de lignes étirées à l’extrême, comme tendues vers une impossible résolution, mais dont les rapports et les décalages – héritage de la musique médiévale ? – seraient régis par une mathématique interne. Et avec une seule flûte traversière (Incantare, 2018), elle bâtit un monde surpeuplé de monstres terrifiants. Ne vous fiez pas aux apparences : chez cette pimpante trentenaire, à l’allure sage et discrète, l’angoisse guette à chaque coin de note. (more…), one of the largest Lithuanian news portals, logo

Rūta Staneviciūtė on microtonal music

Posted on December 10, 2020

“Microtonal music is probably the most striking utopia of Lithuanian music that emerged  in between two worlds wars. For a long time it seemed that we had J.Kačinskas and 50 years in, – R.Mažulis. But when my colleges and I started to get interested in the topic we have found phenomena also in the near Soviet times. And now we have a new generation of composers whose music is rich in microtonality. For example, Justina Repečkaitė interestingly combines the Paris school of spectral music with the inspirations of medieval, Middle Eastern and traditional music.” (more…)

cover of the book Microtonal Music in Central and Eastern Europe

Microtonal Music in Central and Eastern Europe

Posted on July 17, 2020

Exemples of Justina’s systematic quarter-tone approach to composition featuring pre-compositional charts and score reductions of her compositions Tapisserie, Acupuncture and Pulsus Flatus Vox appear in Rima Povilioniene‘s article From Tone Inflection to Microdimensional Glissando: Observations on Microtonal Manner in Contemporary Lithuanian Music

The publication of the first e-edition is available for free on e-knjige website!

Few phrases from Rima Povilioniene‘s conclusions:


Encierro on Radio France

Posted on August 24, 2019

Listen to Justina’s music on Radio France podcasts: composers portrait and Encierro in parts 1, 2, 3, 4, 5.

On Sunday the 1st of September at 23:00 the whole composition Encierro (2019), extracts of Designation & Expulsion, Incanta, Incantare, Fluctuationis, Cosmatesque and a composer’s portrait was played. Everyday day from Monday to Friday at 12:55 and 22:55 a part of Encierro performed by Opus 333 was played alongside an interview and presentation on the radio show Création Mondiale.


Justina Repeckaite

Justina Rapeckaite’s profile by Ben Lunn

Posted on February 22, 2018


The music of Justina Repečkaitė has many similarities to a diamond. With its hard unforgiving shape and geometric perfection, it creates a profound and striking beauty, which singles her out from many composers of her generation.

Her work is highly modernistic giving almost nothing away to the listener, but in its boldness drags the audience along with her. The fascination with the end of medieval world is one of the driving forces behind her and has led to the production of some of her many striking works like ‘Chartres’ (2012) or ‘Acupuncture’ (2014). (more…)

Chartres Cathedral south rose

Chartres review by Ben Davis on Sight Listen blog

Posted on September 24, 2014

Slowly unfolding and stunningly textured, Lithuanian-born, Paris-based composer Justina Repečkaitė’s for chamber orchestra is a thoroughly riveting listen. The bold opening sonority at the very beginning of this piece immediately drew me in and made me want to hear more. It is mysterious, cold, high pitched and somewhere in a wonderful place between consonance and dissonance. This harmonic ambiguity only progresses more as the voices of the orchestra slowly bend between different pitches that encompass many levels of serenity and crunchiness through the process. Eventually the range widens as deeper voices emerge into the texture.  (more…)

Justina Repeckaite

Interview with Justina Repeckaite: “I had a sincere confidence in my piece”

Posted on October 12, 2013

On the 29th September, during the ceremony held by Lithuanian Composers’ Union, prizes were awarded for most prominent pieces of the year and musicology competition works. Every year the most intriguing nomination is the Début of the Year, this year the prize was awarded to young a composer Justina Repečkaitė for a string orchestra piece “Chartres”. The composition was performed for the first time by the St. Christopher chamber orchestra during the “Druskomanija” festival. Even than the piece was welcomed with admiration and positive critique. I believe most of us are keen to know how the author herself feels about it. (more…)