Perhaps, internationally, the two best known composers from the Baltic countries are Estonian Arvo Pärt and Latvian Pēteris Vasks. Each has an individual, unique style, influenced and inspired by religion and spirituality, and both endured artistic restriction during the Soviet occupation of their respective homelands. Stylistically, however, Pärt is more of a minimalist, with his own original tintinnabuli (little bells) style, while Vasks can be more dramatic and emotional. The works of both composers have moved and touched listeners throughout the world. Also, each has recently celebrated a major anniversary – Pärt celebrated his 90^th birthday in 2025 and Vasks his 80^th in 2026.

To celebrate these anniversaries, as well as their contributions to Baltic music, distinguished Latvian organist Iveta Apkalna released an album of solo organ works by the two composers. Entitled simply Pärt & Vasks, the album was released in 2026 by the Berlin Classics label.

Apkalna has established herself as one of the premiere organists internationally and has performed with many European orchestras and won many awards, among them, according to her website, was that “in 2005 she became the first organist ever to receive an ECHO Klassik as “Instrumentalist of the Year””.

The album is bookended by two longer form works by Vasks. The first is ‘Te Deum’, a powerful and tonally rich composition. Here Vasks’ sacred elements shine through, with this musical work of praise reaching spiritual and emotional peaks, with moments of somber reflection. Apkalna provides an enrapturing performance of this work, skillfully revealing the many nuances and layers in this majestic work.

The album concludes with Vasks’ expansive ‘Viatore’ (‘Passenger’), a work originally for string orchestra but later arranged for solo organ. According the Schott music publisher’s website, the work is ‘the story of a wanderer who arrives in this world, grows up in it, develops, falls in love, fills himself up and then departs’, and, appropriately for this album, is dedicated to Arvo Pärt. Gentle and reflective at its beginning, then building to a emotionally deep climax, Apkalna’s performance provides a vivid illustration for this engaging story.

In contrast with the often dramatic and even stormy works by Vasks, Pärt’s compositions are much more subdued, even austere at times. ‘Pari intervallo’, somber and melancholic, barely rises above a whisper in the sound of the organ, but is still an emotionally rich work, and Apkalna provides the needed restraint and gentle touch to let this quiet, yet spiritually resonant composition to softly unfold and bloom.

Pärt’s compositions have a calming, serene atmosphere to them, such as in the tender ‘Spiegel im Spiegel’, one of the composers best known works. Though the melody is deceptively simple, Apkalna provides a moving interpretation of this beautifully meditative work.

Arvo Pärt and Pēteris Vasks, through their decades of composing some of the most memorable and beautiful music to come from the Baltics, have immeasurably raised the profile of Estonia and Latvia throughout the world. With a deep reverence for the musical contributions of both, as well as with dynamic and rich performances, organist Iveta Apkalna has recorded a fitting tribute to both composers.

For further information, please visit Iveta Apkalna’s website as well as the Berlin Classics website.

Pärt & Vasks

Iveta Apkalna, organ

Berlin Classics, 2026

Track listing:

1. Te Deum – Pēteris Vasks
2. Pari Intervallo – Arvo Pärt
3. Spiegel im Spiegel – Arvo Pärt
4. Annum per Annum – Arvo Pärt
5. Trivium – Arvo Pärt
6. Viatore – Pēteris Vasks

Latvian composer Jānis Mediņš, throughout his long career, made many significant contributions to the field of Latvian classical music. In his lifetime (1890 – 1966) Mediņš composed operas, ballets, choir music, symphonic music, as well as piano music.

It is perhaps in the field of piano music that Mediņš created his magnum opus – the 24 Dainas (or folk songs) for solo piano. Mediņš composed these works throughout his life, and the compositions are a kind of thread woven throughout his life, a musical diary that he kept adding to throughout his career – Daina No. 1 was composed in 1921, while Daina No. 24 was composed in 1963.

It is a monumental, complex body of work, and perhaps that is why there have been few recordings of the entire series. Pianist Jonathan Powell released a recording of all of them in 2012, and the latest recording of all 24, by Latvian pianist Arta Arnicāne, was released in 2025 on the Prima Classic label.

Arnicāne has performed all over the world and is currently teaching at the Zurich Music Conservatoire, and, according to the CD booklet, is ‘especially devoted … to the discovery and performance of rare repertoire’. In preparation for performing and recording these works, Arnicāne delved in to the life story of Jānis Medinš, analyzing the dedications of individual Dainas and how that influenced that particular composition, as well as Mediņš biography, and how that may have guided the mood and sound of the compositions.

This deep understanding allows Arnicāne to present a unique perspective on these works. Beyond the pianist’s technical and interpretations skills, Arnicāne brings forth the emotional and personal context in each of the Dainas, and she paints a vivid portrait of the life of Jānis Mediņš. The CD booklet also includes many notable details about the dedication and performance of many of the individual Dainas.

As the 24 Dainas were composed over decades, the listener can trace stylistic changes and evolutions throughout Mediņš career. The compositions also carry a range of emotions, from moments of joy to moments of bleakness. Certain Dainas are technically demanding, while others offer plaintive, tender melodies. Arnicāne skillfully reveals the many textures and spirit of these works. From the romantic and tender Daina No.6, to the more melancholy No. 13 (composed after World War II, when Jānis Mediņš was a refugee), and then to the darker Daina No. 18 (though the works are called ‘Dainas’, this is the only one to reference a Latvian folk song, the tragic orphan’s song ‘Maziņš biju, neredzēju,’), Arnicāne imbues each one with a rich emotional and tonal spirit.

Composed over the course of 42 years, Jānis Mediņš’ 24 Dainas provide not just a vivid biography of the composer, but also, with their range of emotions and varied styles, create a multi-faceted and layered Latvian landscape. Arta Arnicāne, with her deft and nuanced performances, as well as her deep understanding and passion for these works, reveals the musical brilliance of Mediņš contained in each of these gems.

For further information, please visit Arta Arnicāne’s website and the Prima Classic website.

Jānis Mediņš – 24 Dainas

Arta Arnicāne

Prima Classic, PRIMA047, 2025

Calling themselves ‘classical music hooligans’, Dagamba, the instrumental ensemble from Latvia, have now, for fifteen years, been bridging classical music with modern music, creating distinctive and memorable pastiches – on albums such as 2015’s Recycled, 2017’s Seasons (a modern reimagining of Antonio Vivaldi’s Four Seasons), 2017’s Ludwig van Rammstein (combining opuses by Ludwig van Beethoven and industrial metal ensemble Rammstein). As of 2026, Dagamba is made up of cellist and founder Valters Pūce, cellist Antons Trocjuks, pianist Dainis Tenis, double bassist Alise Broka, and drummer Artūrs Jermaks.

2026 brought the fusion of two musical heavyweights – classical composer Wolfgang Amadeus Mozart and the most successful and best-known heavy metal band Metallica. Though centuries separate their music, Dagamba meld the two seamlessly, bridging these two eras and create a cohesive, modern musical mashup.

Metallica’s music has already been interpreted in a symphonic style, with their S&M projects with the San Francisco Symphony Orchestra, and their often expansive and intricate songs lend themselves to orchestral interpretation. Mozart’s music is often driven and dynamic, such as the Queen of the Night’s fiery aria “Der Hölle Rache” from the opera The Magic Flute. Dagamba fuse this music of the aria with one of Metallica’s best-known songs – “Enter Sandman”, resulting in an intense and fierce performance, appropriately entitled “Queen of the Sandman”.

Both artists are also known for more somber and reflective music, and Dagamba take elements from Mozart’s Requiem, such as the haunting melody from the “Lacrimosa” section and give it a contemporary interpretation with drums and distorted cello sounds, and this leads then into Dagamba’s poignant and nuanced performance of the Metallica ballad “Nothing Else Matters”.

Metallica’s late bassist Cliff Burton (who died tragically in 1986) had a significant influence on the music of the band’s early years, due to his interest in classical music, particularly composers like J. S. Bach. The band’s earliest albums contained many songs that were intricately orchestrated, and songs like “Fade to Black” and “Master of Puppets” were enhanced by Burton’s contributions. As a tribute to Burton, Dagamba included “Concert Étude for Double Bass, Op. 1” – a work that includes multiple fragments of some of Burton’s most memorable bass lines.

Dagamba again show that music from centuries ago can still be as relevant today, and can still stand alongside modern works, and this is exemplified by the combination of Mozart and Metallica on Mozartallica. At times energetic and fiery, others contemplative and somber, the music of both artists flows organically into a cohesive whole, displaying not just the creativity and music skill of both artists, but the performance and arranging talents of Dagamba.

For further information, please visit the Dagamba website.

Mozartallica

Dagamba

2026

Track listing

1. Queen of the Sandman
2. Sad but 40
3. Lacrimosa
4. Nothing Else Matters
5. Concert Étude for Double Bass, Op. 1: Tribute to Cliff Burton
6. The Unforgiven Trilogy
7. Turkish Whiskey
8. Flame
9. Figaro the One
10. Kyrie