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)

The three Baltic countries – Estonia, Latvia, and Lithuania – have long shared an intertwined history. As three small and culturally unique cultures on the shores of the Baltic Sea, their location between larger historical powers has meant that war has spread over their lands for centuries. However, their vibrant and deeply rooted cultures have survived the tribulations of their history, and have endured to become stronger than ever. Even though there are cultural and religious differences, Estonians, Latvians, and Lithuanians all share the common bond of song.

Recognizing this shared trait between them, originally three (now four) singers from the Baltic nations gathered to celebrate their shared affinity for folk songs and folk singing. The ensemble called themselves the Baltic Sisters, and united singers Marion Selgall from Estonia, Vineta Romāne and Liene Skrebinska from Latvia, and Laurita Peleniūtė from Lithuania. Originally the group focused on the Lithuanian singing style called Sutartinės, but have expanded their repertoire to include songs of all the Baltic peoples. The Baltic Sisters released their first album – Värav / Vārti / Vartai (the word for ‘gate’ in all three languages) – on the German music label CPL-Music in 2025.

On her website Peleniūtė describes sutartinės as “ancient Lithuanian multipart songs”. The songs on Värav / Vārti / Vartai are mostly sung unaccompanied, with multiple interwoven distinct vocal lines. This gives the songs a hypnotic, ritual atmosphere, such as the Lithuanian song ‘Sesė sodą sodino’, a song about planting a garden with apple trees, and the voices and their distinct melodies and texts, conjures an engrossing pastoral vision.

From the Latgallian repertoire, the group performs “Soka Saule rītiedama”, an orphan’s song from singer Domicella Līpeņa’s repertoire. The sparse vocal arrangement highlights the tragic nature of the song, and the repeated phrases, like ‘naraud gauži’ (do not cry bitterly) enhance the melancholy atmosphere of the performance.

Though many of the songs have a somber character, there are still moments of happiness and exuberance, such as on the Estonian “Sõrmemähkimise mäng”, a cheerful song about a young man meeting his bride after running to help her after she cut her fingers on some straw. This performance also shows the playful side of the ensemble.

Though most songs are sung with minimal accompaniment, for the Lithuanian “Turėjo Liepa”, the singers are joined by percussion and bass guitar, to give this ancient song about a linden tree with nine branches that loses its branches during a storm a more modern feel. The number nine is significant in the folklore of all three Baltic nations, deep with symbolism, and this song highlights the magical and mystical nature of this folk belief.

Mystical and atmospheric, somber and hypnotic, Värav / Vārti / Vartai envelops the listener with its rich and haunting melodies from all three Baltic states. Bringing together ancient songs from Estonia, Latvia and Lithuania, the Baltic Sisters display not just their singing skills, but also their ability to reveal the transcendent nature of the songs of the region. Though three distinct cultures, the album seamlessly melds the music and songs of each nation into a engaging and meditative whole.

For further information, please visit the Baltic Sisters Facebook page and the CPL Music website.

Värav / Vārti / Vartai

The Baltic Sisters

CPL-Music, CPL070, 2025

Track listing

1. Sesė sodų
2. Soka saule rītiedama
3. Sõrmemähkimise mäng
4. Cuckoo song
5. Ėjau rytelia čiūta
6. Aja kari siia!
7. Dai kas padunda
8. Svirtis svira
9. Saulala sadina
10. Nuslaida saulala
11. Sviro lingo
12. Tumsīnā, vakarā
13. Treputė martela
14. Turėjo liepa