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

Over the past two decades, accordionist Ksenija Sidorova, originally from Latvia, has become one of the premier performers of the instrument globally, and has not just elevated the instrument on a professional level, but also continues to reveal its expansive musical and sonic possibilities with her virtuoso performances.

Over multiple recordings, she has expanded the modern accordion repertoire, and her latest album – 2026’s Prophecy – features contemporary works by Estonian and Latvian composers. The album, recorded with the Estonian Festival Orchestra and conducted by Paavo Järvi, features works by Estonian composers Erkki-Sven Tüür and Tõnu Kõrvits, as well as Latvian composer Pēteris Vasks.

Erkki-Sven Tüür’s ‘Prophecy’ concerto, a single movement work, is inspired by the concept of a ‘seer’, or one that sees the future. Correspondingly, the work has a mystical, otherworldly atmosphere, and is imbued with a sense of trepidation (perhaps from the seer being aware of what the future holds). From its frenetic, often discordant, beginning, to the calmer, though ominous, middle section, Sidorova’s accordion provides a whirlwind of activity, a kind of narrator of the story of the seer. Along with the expressive and energetic performance by the orchestra, the work reaches a powerful conclusion full of tension and foreboding.

Tõnu Kõrvits’ four ‘Dances’ also allow Sidorova to display the broad sonic palette that the accordion has to offer. The works, commissioned for Sidorova, were composed in close collaboration between the composer and the accordionist, and this allowed Sidorova to also influence the sound of the work, giving the composer ideas about the different sounds and unique aspects of the accordion to incorporate the work. Though the title is ‘Dances’, the work is less festive but more atmospheric, developing moods and ambiance.

As a kind of a peaceful epilogue to the album, as a respite from the often stormy Estonian compositions, is Pēteris Vasks’ ‘The Fruit of Silence’. Though originally composed as a work for choir and piano, in this arrangement by George Morton, the orchestra takes the place of the choir and Sidorova’s accordion performs the piano part, a gentle, single note meditation. Though the work no longer has words (the text was based on writings by Mother Theresa), Sidorova captures the ruminative and deeply spiritual nature of the work, and as the work draws to a quiet conclusion, Sidorova and the orchestra leave the listener in a tranquil and harmonious state of serenity.

Accordionist Ksenija Sidorova and the Estonian Festival Orchestra conducted by Paavo Järvi have gathered memorable performances of modern Baltic works on Prophecy. Sidorova continues to push the boundaries of what the accordion is capable of, revealing new facets and aspects to the sound of the instrument, as well as displaying her skill with technically demanding works, as well as nuanced interpretations. Along with the Festival Orchestra, the recordings on the album display a wide range of emotions and sentiments, creating engrossing and moving performances.

For further information, please visit Ksenija Sidorova’s website and the Alpha Classics website.

Prophecy

Ksenija Sidorova

Estonian Festival Orchestra, conductor Paavo Järvi

Alpha Classics, ALPHA1198, 2026

Track listing

1. Prophecy – Erkki-Sven Tüür

Dances – Tõnu Kõrvits

• I. Darkness (cadenza). Under the Cajun Moon
• II. Passacaglia
• III. Siciliana
• IV. Sarabande

• The Fruit of Silence – Pēteris Vasks (Arranged by George Morton for accordion, vibraphone and string orchestra)