Rasa Vosyliūtė (violin)

Sound recordings
Sound recordings

Rasa Vosyliūtė graduated from Lithuanian Academy of Music and Theatre in 1995 and was awarded music licenciate in 1997. She studied with Prof. Raimundas Katilius. While still at the Academy, she was a member of the world youth orchestra Jeunesses Musicales (1992); she attended a chamber music master class in Sweden (1994), a violin solo master class in Finland (Prof. V. Vaidman and L. Melnikov), also master classes in Druskininkai (Prof. O. Pomerancaitė and Prof. R. Katilius), at Hochschule für Musik ‘Hanns Eisler’ Berlin (G. Kremer) and Lockenhaus Chamber Music Festival (T. Grindenko).
R.Vosyliūtė won the second prize at the Heino Eller International Violin Competition in Tallinn (1996). In 1997, she joined the Guildhall School of Music and Drama in London where she studied with Prof. Y.Neaman, and after graduating, she was awarded a diploma with distinction. While studying in London she organised a quartet, which won the first prize at the Guildhall School of Music and Drama competition.
R.Vosyliūtė debuted as a soloist in 1995 when she performed J.Brahms’s Concerto for Violin together with the International Baltic Youth Orchestra under the baton of J.Aleksa. She has also performed solo together with Lithuanian National Symphony Orchestra, LAMT Chamber Orchestra, St.Christopher Chamber Orchestra of Vilnius, Chamber Orchestra of Klaipėda, Estonian National Symphony Orchestra, Tallinn Chamber Orchestra and German Nordrhein-Westfalen Youth Chamber Orchestra. She has given recitals in London, Brussels, Washington, Paris and Vilnius (Hall of LAMT, Vilnius City Hall, Lithuanian National Philharmonic, and Museum of Applied Arts). She has been giving a recital with a new programme in Vilnius every year. R.Vosyliūtė’s permanent partner is Eglė Vosyliutė, but she has also performed together with Petras Geniušas, Leonid Dorfman, Golda Vainberg-Tatz, Arunas Staškus and others.

In 2001, together with her colleagues – former students of Prof. R.Katilius, R.Vosyliūtė organised the Raimundas Katilius Violin Quartet. The quartet has successfully performed in Upbeat Festival in Scandinavia: Norway, Sweden, Finland, Estonia and Latvia; it also has given concerts in London and Berlin.

Since 1997, Rasa is a member of the chamber orchestra Kremerata Baltica with which she has been touring around the world.
In 2005, together with G.Dirvanauskaitė, R.Vosyliūtė recorded A.Honegger’s Sonata for Violin and B.Martinu’s Duo for Violin and Cello for Lithuanian National Radio. In 2001–2004, she worked as a lecturer at the Lithuanian Academy of Music and Theatre and took over Prof. Raimundas Katilius’s class after his death.

Lithuanian Composers

Osvaldas Balakauskas

”Like the Touch of a Sea Wave”

”Rain for Cracow”  for violin and piano

Eduardas Balsys

Little Asp - Mischief Maker. Lament. Tiny Fishes. Mermaids. Welcoming March

from ballet "Egle, Queen of the Grass-snakes"

Vytautas Barkauskas

Partita for violin solo

Mikalojus Konstantinas Čiurlionis

String Quartet in C minor

Faustas Latėnas

String quartet No. 2

Jonas Tamulionis

”The Sea” for 4 violins

Mindaugas Urbaitis

Bachvariationen I for 4 violins

Chamber Works

Grażyna Bacewicz

Sonata for four violins

Ludwig van Beethoven

String quartet in C major, op. 29

Luciano Berio

Duetti (34), for 2 violins

Johannes Brahms

Piano trio No.2 in C major, op.87

Piano quintet in F minor, op.34

String sextet in G major, op. 36

Antonin Dvorak

Piano trio No.1, in F minor, op. 65

Piano quintet in A major, op. 81

Arthur Honegger

Sonatine for violin and cello in G major

Sonata for violin solo

Bohuslav Martinu

Madrigals (3) for violin & viola ("Duo No. 1"), H. 313

Duo for violin & cello No. 1, H. 157

Wolfgang Amadeus Mozart

String quartet No.6, in C major, KV. 465

Sergei Prokofiev

Sonata for two violins op.56

Dmitri Shostakovich

String Quartet No. 6 Op. 101

Quintet for piano & strings, in G minor, Op. 57

Georg Philipp Telemann

Sonata for 4 violins in C major

Solo Works

Arthur Honegger


Sergei Prokofiev

Sonata for violin solo op. 115

Eugène Ysaÿe

Sonata for violin solo No. 3 in D minor ("Ballade"), Op. 27/3

Works for Violin and Orchestra

Bela Bartok

Rhapsody No.2

Ludwig van Beethoven

Romance for violin & orchestra No. 2 in F major, Op. 50

Concerto for violin and orchestra in D major, op.60

Johannes Brahms

Concerto for violin and orchestra in D major, op.77

Max Bruch

Concerto for violin and orchestra No.1 in G minor, op.26

Ernest Chausson

Poeme, for violin & orchestra, Op. 25

Joseph Haydn

Concerto for violin, harpsichord and orchestra in F major

Felix Mendelssohn

Concerto for violin and orchestra in D minor

Concerto for violin and orchestra in E minor, op.64

Wolfgang Amadeus Mozart

Concerto for violin and orchestra No.3 in G major, K.216

Concerto for violin and orchestra No.4 in D major, K.218

Concerto for violin and orchestra No.5 in A major, K.219

Niccolò Paganini

Violin Concerto No.2 in B minor ("La campanella"), Op. 7, MS 48

Sergei Prokofiev

Concerto for violin and orchestra No.1 in D major, op.19

Camille Saint-Saens

Introduction and Rondo Capriccioso, for violin & orchestra in A minor, Op. 28

Jean Sibelius

Concerto for violin and orchestra in D minor, op.47

Pyotr Tchaikovsky

Concerto for violin and orchestra in D major, op.35

Valse-scherzo, for violin & orchestra (or violin & piano) in C major, Op. 34

Henri Vieuxtemps

Violin Concerto No. 5 in A minor ("Grétry"), Op. 37

Henryk Wieniawski

Polonaise (No. 1) de concert, for violin & orchestra in D major, Op. 4

Works for Violin and Piano

Johann Sebastian Bach

Sonata for violin and harpsichord BWV 1017

Sonata for violin and harpsichord BWV 1019

Bela Bartok

Rhapsody for violin & piano No. 1, Sz. 86, BB 94a

Ludwig van Beethoven

Sonatas (3) for violin & piano, Op. 12

Sonata for violin & piano, No.5 in F major, Spring, op.24

Sonata for violin & piano, No.10, in G major, op.96

Johannes Brahms

Sonata for violin & piano, No.1 in G major, op.78

Sonata for violin & piano, No.3 in D minor, op.108

Mario Castelnuovo-Tedesco

Figaro (concert paraphrase of 'Largo al factotum' from Rossini's "Barber of Seville"), for cello & piano

Ernest Chausson

Poeme, for violin & orchestra

Claude Debussy

Sonata for violin & piano, L. 140

Manuel de Falla

Spanish suite

Cesar Franck

Sonata for violin & piano in A major, M. 8

Edvard Grieg

Sonata for violin & piano No.3 in C minor, op.45

Leoš Janáček

Sonata for violin & piano, JW 7/7 (4 versions)

Wolfgang Amadeus Mozart

Sonata for violin & piano, in E minor, KV. 304

Arvo Part


Francis Poulenc

Sonata for violin & piano, FP 119

Sergei Prokofiev

Sonata for violin & piano, No.1 in F minor, op.80

Maurice Ravel

Valses nobles et sentimentales

Sonata for violin & piano, in G major

Alfred Schnittke

Suite (Sonata) in the Old Style, for violin & piano (or harpsichord)-

Robert Schumann

Sonata for violin & piano, No.1 in A minor, op.105

Dmitri Shostakovich

Four preludes for violin and piano op. 34

Igor Stravinsky

Divertimento, symphonic suite for orchestra from the ballet ”The Fairy's Kiss”

Pyotr Tchaikovsky

Souvenir d'un lieu cher, for violin & piano (or orchestra), Op. 42

Eugene Ysaye

Reve d'enfant for violin & piano, Op 14

Caprise, d'apres l'etude en forme de Valse de C.Saint-Saens Op.52

Other Works

Alfred Schnittke

Moz-Art a la Haydn, for 2 violins & 11 strings

Antonio Vivaldi

Sonata for violin and organ in D major

Concert at the Museum of Applied Art, 16 12 2007

L.Janaček “Fairy tale” for cello and piano

E.Schulhoff Duo for violin and piano (in memory of Leoš Janáček)

A.Dvorak Romantic pieces for violin and piano, Op. 75

P.Tchaikovsky Trio in A minor, Op. 50




Moreover, the intriguing programme started with Czech composer Leoš Janaček’s (1854-1928) Sonata for Violin and Piano in four parts [...]. Sonata, due to the stable and temperamental performance of R. Vosyliūtė and A. Staškus, revealed the characteristics of the artist’s composition: the search for harmony, the change of mood, expression of complicated technical episodes… Three myths: La fontaine d’Arethuse, Narcisse and Dryades et Pan were interpreted in a subtle way, sensitively, with a specific touch infusing the music with unexpectedness, mystery and, simultaneously, illustrative elements. The duo of R. Vosyliūtė and A. Staškus was fascinating: the wide dynamic amplitude and the development of musical idea [...]. Thus, the impression of the 20th century New Europe experienced in the concert would be this: thanks to great musicians, musical opuses that were performed in a rich, sometimes phantasmagorical, sound reminded again of themselves ‘asking’ to be performed more and more, so that they would sound differently every time. Like impressions plunged into the flow of time, but not fading…

Vitalija Mockutė, “Sauletekio ispudis,” Muzikos barai, January - February 2005

It has been long since the duo of E. and R. Vosyliūtė performed together; it is marked, one could say, by an especially close relationship between the performers, an almost identical musical thinking: this creates the impression of a perfect ensemble both for the performers and for the listeners. All this could be heard when they performed The First Sonata for Violin and Piano G-Major op. 78 by Johannes Brahms. The specific timbre of the instrument characteristic to this violinist was remarkable in the latter opus as well as during the concert: the ability to obtain a penetrating, intensive, strongly suggestive and magnetising sound. [...] However, due to the aforementioned identity of positions between the two performers: the identical intonation towards climaxes, integral phrasing, perfect synchronism even in the tiniest twists of rhythm and the composition sounded especially smooth. [...] At the end of the first part of the concert, we heard the ensemble of R. Vosyliūtė and G. Dirvanauskaitė: Bohuslavo Martinů’s Duo for Violin and Cello No. 1 in two parts [...]. The string duo was equally fascinating: as if, just one musician was performing. The ensemble quality of performers was fully revealed by Antonin Dvorak’s Trio for Piano, Violin and Cello f-minor, op. 65. Although in some parts, for instance, in the second part, it was possible to disagree with the solution of tempo – Allegretto grazioso sounded slightly hasty, more espressivo than grazioso – but precise intonations of strings in unison segments, perfect octaves and a sense of continuity in the huge four-part cycle was the evidence of a technically perfect, really motivated and professional interpretation. One could only wish that this ensemble offered programmes marked by unquestionably high skill and artistry in future.

Rima Povilionienė, “Kameriniame koncerte – trys jaunos muzikes,” Muzikos barai, February–March 2004

The end of the evening throws us again from 2003 back to 1985–1988. The chain of musical opuses ends with Bachvariationen I, which has become a real gem of the evening due to the impressive interpretation by Raimundas Katilius Violin Quartet (Džeraldas Bidva, Rasa Vosyliūtė, Rūta Lipinaitytė, Marija Nemanytė). To forestall the impression, Mindaugas Urbaitis has not been wrong in saying that violinists from Kremerata have prepared the opus, which they themselves discovered, excellently. One could agree with his words that new performers can change an old opus fundamentally. The newly discovered old is much more effective, if the performers also astound with their skill.

Skirmantė Valiulytė, “Is to, kas nepasakyta,” 7 meno dienos Nr.585

The complicated Sonata by A. Honegger has been, it seems, sufficient to convince us that the violinist thinks in solo categories: she wants to articulate clearly, she succeeds in revealing suggestively the form. In the complicated, rich A. Honegger’s musical fabric, the violinist managed to track the pulse of the live flow, to reveal the specifics of all four parts, integrate fluently neoclassical features of the composer’s thinking. The performers follow different paths towards emotionalism, and gradations of emotionalism seem to be especially important for R. Vosyliūtė; thus, she tends to see specifically into this area. Obvious evidence to this is the interpretations of other opuses in the programme suggested by the string quartet with R. Vosyliūtė as its primarius.

Vytautė Markeliūnienė, “Ansamblio debiutas,” 7 meno dienos 2002 10 18