Justina Repečkaitė began her musical studies with singing and piano in her home country of Lithuania. From 2008 to 2012, she earned a degree in composition at the Lithuanian Academy of Music and Theater where she was taught by Osvaldas Balakauskas and Ričardas Kabelis, before leaving to study in France as part of an Erasmus program.

In Paris, she joined Stefano Gervasoni’s studio at the Conservatoire de Paris (2010-2011) and then obtained a degree in musicology from the Sorbonne (2013-2015) where she specialized in medieval music, a topic about which she is passionate and which she has since woven into her work.

From 2013 to 2016, she studied with Jean-Luc Hervé and Yan Maresz at the Pôle supérieur d’enseignement artistique Paris Boulogne-Billancourt, leaving with a diploma in music creation.

From 2016 to 2018, Repečkaitė lived in Lyon, where she obtained a master’s in composition from the Conservatoire de Lyon with Philippe Hurel and Martin Matalon. Back in Paris from 2019 to 2020, she joined IRCAM’s Cursus program in composition and computer music, supervised by Thierry De Mey. Her final piece, Transduced for percussion and electronics, was debuted in the main hall of the Pompidou Center.

Repečkaitė’s journey has been punctuated by artistic residencies, including at the Fondation Singer-Polignac in Paris from 2017 to 2018, at the Villa Waldberta in Munich in 2022, and at the Cultural Foundation Schloss Wiepersdorf in Niederer Fläming in 2023. From 2017 to 2018, she received a grant from the Centre International Nadia et Lili Boulanger. In 2018, Le Balcon ensemble directed by Maxime Pascal invited her to be composer-in-residence.

She has received commissions from institutions and festivals including Radio France, Arte No Tempo, Electrocution, Le Balcon, the Fondation Royaumont, IRCAM-Centre Pompidou, the Centre de Musique Baroque de Versailles, and the Gaida, the largest contemporary music festival in the Baltic countries, for which she wrote several orchestral pieces. Her compositions were also played in 2021 at Baltic Music Days, an annual contemporary music festival created conjointly by Estonia, Latvia, and Lithuania with each country taking turns to host. Her piece Chartres was recommissioned by the International Rostrum of Composers and represented Lithuania at the 2015 World Music Days. During the 2021 Darmstadt Summer Course, she premiered her piece Pulsating Skin with four percussionists, for four snare drums and electronics.

Her works have been played by renowned ensembles and orchestras such as the Ensemble intercontemporain, Court-Circuit, Collegium Novum Zürich, 2e2m, Spectra, Asko/Schönberg, the Ensemble for New Music Tallinn, OSSIA, Platypus, ars ad hoc, Lithuanian Ensemble Network, Ithaca College, SurPlus, XXI. Jarhundert, the BBC Philharmonic Orchestra, and the Sinfonietta Riga.

Repečkaitė’s music reaches into a large variety of genres, from orchestral to vocal, and from mixed to electronic and electroacoustic. She is deeply influenced by the culture of the late Middle Ages, as can be heard in her works La Cité des Dames, Vellum, and Cosmatesque. Her writing and musical ideas are based on geometric and mathematical concepts and are sometimes inspired by the visual arts, following the example of her string quartet Unbennant-2 inspired by a painting of the same name by the Armenian artist Sam Grigorian.

Since 2015, she has been a member of the Lithuanian Composers’ Union, which awarded her the Debut of the Year prize.