Anna Veismane is Latvian composer and she currently works at Latvian Radio 3 - Klasika as a producer of sound recordings and regularly organizes concerts - live broadcasts at the Latvian Radio. She was an artistic director of the Latvian Composers’ Union festival “The Latvian New Music Days”. Anna is a member of the Latvian Composer’s Union’s board and a chair-person of ISCM Latvia section. Anna Veismane studied in E.Darzins Music School. The first teachers of composition were Pēteris Vasks and Imants Zemzaris. Afterwards she studied composition at the J.Vitols Latvian Academy of Music with Romualds Kalsons and Juris Karlsons, graduating with a master’s degree. She has participated in master classes with composers Miklós Maros, David Lang, John Woolrich, Klas Torstensson, Tapio Tuomela, Yannis Kyriakides and Jonathan Harvey. Anna’s music widely has been played in Latvia, Baltic states, also in Germany, Romania, Italy, Ireland, Finland (Hetta Music Event, Time of Music), South Korea (Pan Music Festival) and USA.
Anna Veismane collaborated with violinists Baiba Skride, Elīna Bukša, Paula Šūmane, cellist Gunta Ābele, flutists Ilona Meija, Dita Krenberga, pianists Lauma Skride, Agnese Egliņa, Rūdolfs Vanks, famous latvian organist Iveta Apkalna, organist Maria Magdalena Kaczor, guitarist Bogdan Michailescu, violist Edmundo Ramirez, accordionists Timo Kinnunen, William Schimmel, saxophonist Aigars Raumanis, kokle player Līga Griķe, singers Evija Martinsone and Ieva Parša. Her music has been performed by Latvian National Symphony orchestra, Liepaja Symphony Orchestra, Sinfonia Concertante, Riga Saxophone Quartet, vocal group Putni, string quartet ConTempo, trio Metamorfoze, ensemble Altera Veritas,and The Concorde Contemporary Music Ensemble.
About the music
Anna Veismanes' music is stylistically diverse, starting with sophisticated instrumental and vocal chamber music to jazz-inspired compositions. The source of inspiration is often other forms of art - such as poetry or paintings. Anna's music is characterized by distinctive images and characters and she prefers to write chamber music, because of personal involvement and cooperation with interpreters, and afterwards, because of the direct and intimate contact with the audience.