Justina Repečkaitė
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. The composer’s 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 many works. Profound and elegant ideas have constantly been a key defining feature of the composer’s work. Be it the sonoristic and proportional qualities of Chartres or Pilastres (2013), or the pin point pierces of Acupunture or Acupressure (2014); her music is unforgiving in its statement and fearless in delivering its message. The strength of idea, originality of colour and concept, and sheer ruthlessness in delivery make Justina Repečkaitė a force to be recognised in Lithuania and further afield.
Ben Lunn
Chartres
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Chartres
Designation & Expulsion
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Designation & Expulsion
Biography
Critics have described Justina Repečkaitė’s music as “having many similarities to a diamond” (Ben Lunn, UK), , “inviting, constantly changing, gritty and lustrous” (Max Erwin, USA), and “drawn with the sharpest pencil” (Šarūnas Nakas, LT).
Born in 1989, she completed her Master’s degree in composition in France before studying at the prestigious Cursus IRCAM. In Paris, she was an artist-in-residence at the Singer-Polignac Foundation, composer-in-residence with the ensemble Le Balcon (cond. Maxime Pascal) , and held a scholarship at the International Centre of Nadia and Lili Boulanger. Later, she continued her residencies in Germany at Villa Waldberta and Schloss Wiepersdorf, in 2024 at the Cordes-sur-Ciel festival, and in 2025 at the Lehtinen Foundation in Helsinki.
Justina’s music and interview feature in the Radio France programme Création Mondiale, and she has also been interviewed by RTS, RPPT, Forum Opera, LRT klasika, the Lithuanian Culture Institute, and the Composers on Air podcast. Her music has been broadcast by ARTE and Medici, and is available on Spotify.
Awarded as part of the 2024 Lithuanian Composers’ Works of the Year, Repečkaitė’s composition La muë (2024) for serpent, children’s choir, and electronics—part of the project Janus and co-commissioned by Ircam and the Centre of Baroque Music Versailles - was performed at Ircam Espro using the virtual acoustics of the Royal Chapel of the Palace of Versailles.
The same year, her composition Whispering Skin (2024) for percussion and electronics was premiered by Eklekto in Geneva as part of their 50th-anniversary celebration.
In 2025, with support from the Ernst von Siemens Foundation, Justina composed music for Sfäärit, a project combining ancient instruments, electronics, and dance, which was performed at the Musica Nova festival in Helsinki. Lithuanian National Radio Klasika commissioned Repečkaitė’s new composition Millefleur (2025) for Ensemble for New Music Tallinn, that premiered at Muzikos ruduo –Baltic Music Days in Vilnius and represents Lithuania in International rostrum of Composers in 2026. Both her compositions Chartres (2012) for string orchestra and Tapisserie (2015) for chamber ensemble represented Lithuania in World Music Days and International Rostrum of Composers.
Since its premiere in Gaida Festival, her orchestral composition Vellum was performed at Baltic and Estonian Music Days, Paris Philharmonic and, most recently at Sorbonne.
In 2026, Concertina-fold almanach commissioned by Radio France was premiered by accordionist Vincent Lhermet at the Festival Présences in Paris. This year is composer-in-residence at Festival d’Autan.
New works include two commissions from the Printemps des Arts de Monte-Carlo (2027).
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