'she is an artist of commanding technique, refined temperament and persuasive insight.'
The New York Times
Lithuanian pianist Ieva Jokubaviciute’s powerfully and intricately crafted performances have earned her critical acclaim throughout North America and Europe. Her ability to communicate the essential substance of a work has led critics to describe her as possessing ‘razor-sharp intelligence and wit' and ‘subtle, complex, almost impossibly detailed and riveting in every way’ (The Washington Post) and as ‘an artist of commanding technique, refined temperament and persuasive insight.’(The New York Times). In 2006, she was honored as a recipient of a Borletti-Buitoni Trust Fellowship.
Labor Records released Ieva’s debut recording in 2010 to critical international acclaim, which resulted in recitals in New York, Chicago, Philadelphia, Baltimore, DC, Vilnius, and Toulouse. She made her orchestral debuts with the Chicago Symphony; in Rio de Janeiro, Brazil; with the American Youth Philharmonic in 2016, and in February 2017, Ieva was the soloist with the Orquesta Filarmónica de Montevideo in Uruguay. Her piano trio—Trio Cavatina—won the 2009 Naumburg International Chamber Music Competition. Ieva’s latest recording: Returning Paths: solo piano works by Janacek and Suk was also released to critical acclaim in 2014.
In the fall of 2016, Ieva began a collaboration with the violinist Midori, with recitals in Canada, at the Cartagena International Music Festival in Colombia, and in Germany and Austria. Since, they have given recitals in Japan, Germany, Austria, Poland, Peru, Colombia, Mexico, India, and Sri Lanka. .
Jokubaviciute’s latest piano solo recording Northscapes will be released in 2021. This recording project weaves works, written within the last decade by composers from the Nordic and Baltic countries of Europe, into a tapestry of soundscapes that echo the reverberations between landscape, sound, and the imagination. This recording will include works by: Kaja Saariaho, Anna Thorvaldsdottir, Raminta Šerkšnyte, Lasse Thoresen, Bent Sorensen, and Pēteris Vasks.
A much sought after chamber musician and collaborator, Ieva regularly tours and appears at international music festivals including: Marlboro; Ravinia; Bard; Caramoor; Chesapeake Chamber Music; Prussia Cove in Cornwall, England; and Festival de la musique de chambre at La Lointaine in France. She has participated in the Schleswig-Holstein Festival in Lubeck, Germany; the Katrina Chamber Music Festival, Aland Islands, Finland; the Oulunsalo Chamber Music Festival in Oulunsalo, Finland; the Joaquin Turina Chamber Music Festival in Seville, Spain; and Music in the Vineyards in Napa Valley, CA; the Lake Champlain Chamber Music Festival in Burlington, VT; Salt Bay Chamber Music Festival in Maine, and the Four Seasons Chamber Music Festival at East Carolina University.
Earning degrees from the Curtis Institute of Music in Philadelphia and from Mannes College of Music in New York City, her principal teachers have been Seymour Lipkin and Richard Goode. Currently, Ieva is Associate Professor of the Practice of Piano at Duke University in Durham, NC having previously been on the faculty at Shenandoah Conservatory in Winchester, VA. Ieva is also on the faculty at the Kneisel Hall Chamber Music School and Festival in Blue Hill, ME and has established herself as a mentoring artist at the Marlboro Music Festival in Marlboro, VT.
Not that pianist Ieva Jokubaviciute needed a thesis topic to draw us in. She proved a splendid colorist in five Debussy Preludes, with gossamer fingering and nuanced pedaling making for some magical tone-painting. Ditto her sensitive approach to Faure's Barcarolle No. 6 and Nocturne No. 6. But in a pair of late-career Chopin Nocturnes -- which provided a striking complement to the Whistler "Nocturnes" on view in the gallery upstairs at intermission -- the pianist traded hushed elegance for spiky deconstruction, making their splintering melodies and mercurial shifts in rhythm sound downright experimental… Jokubaviciute found an essential beauty, balance and haunting allure that evoked the spirit of Schubert. And, for that matter, of Whistler.'
The Washington Post