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Vedėjas – Jurgis Kubilius
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Vedėjas – Jurgis Kubilius
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2022-11-17┃20:00 h | Menų spaustuvė (Šiltadaržio g. 6, Vilnius), Juodoji salė
Atlikėjai: „Klangforum Wien“ – Dimitrios Polisoidis (altas), Gerald Preinfalk (saksofonas)
Programa:
– Raimonda Žiūkaitė – Alt3 („kur du, trečias…“) (Premjera)
– Andrius Maslekovas – confessions to the non-existent self (prisipažinimai neegzistuojančiam sau) (Premjera)
– George Aperghis – Rasch (Skubiai) (1997 -2001)
– Klaus Lang – ägäische eisberge (Egėjo jūros ledkalniai) (2006)
– Gerald Preinfalk – NN (Premjera)
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Vedėjas – Jurgis Kubilius
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[EN below]
KONTAKTAS – tai provokuojančios naujos muzikos renginių serija, kurioje skamba įdomiausi šių dienų kompozitoriai ir atlikėjai. Čia pristatomi nauji kūriniai, o ypatingą reikšmę turi kūrybiniai procesai, apimantys kompozitorių ir atlikėjų bendradarbiavimą. Abi pusės kviečiamos eksperimentuoti, ieškoti naujų instrumentų raiškos būdų ir permąstyti savo kūrybines nuostatas.
Antrasis 2022 sezono koncertas – tai vieno ryškiausių Europoje šiuolaikinės muzikos ansamblių „Klangforum Wien“ narių – altininko Dimitrios Polisoidis ir saksofonininko Gerald Preinfalk pasirodymas, kuriame išgirsite dvi jaunosios kartos lietuvių kompozitorių – Raimondos Žiūkaitės ir Andriaus Maslekovo – specialiai šiam duetui sukurtas kompozicijas. Programą papildys kompozitorių George Aperghis, Klaus Lang ir Gerald Preifalk kūriniai alto ir saksofono duetui bei solo.
Šiame koncerte kompozitoriai ir atlikėjai sieks atskleisti ne tik dviejų instrumentų, turinčių panašų garso diapazoną ir tembrą, sąskambius, galimybes bei įvairias išplėstines technikas, bet ir derins juos su elektronika ir leisis į šiuolaikines improvizacijas.
EN
KONTAKTAS is a platform for provocative new music featuring today’s most exciting composers and performers. New pieces are presented here, and the creative processes of KONTAKTAS are of particular importance, involving collaborations between composers and performers. Both sides are invited to experiment, explore new ways of expressing instruments, and rethink their creative attitudes.
The second concert of the 2022 season is a performance by the members of one of Europe’s most prominent contemporary music ensembles Klangforum Wien, violist Dimitrios Polisoidis and saxophonist Gerald Preinfalk, featuring two compositions by the young generation of Lithuanian composers Raimonda Žiūkaitė and Andrius Maslekovas, written especially for this duo. The programme will be complemented by George Aperghis’, Klaus Lang’s and Gerald Preinfalk’s works for viola-saxophone duo, as well as solos.
In this concert, the composers and performers will not only seek to reveal the consonances, possibilities and various extended techniques of the two instruments, which have a similar sound range and timbre, but also combine them with electronics and embark on contemporary improvisations.
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Projektą organizuoja VšĮ „Aktualios muzikos projektai“
Projektą dalinai finansuoja Lietuvos kultūros taryba ir LR Kultūros ministerija.
[EN below]
DIMITRIOS POLISOIDIS gimė 1961 m. Salonikuose. Gimtajame mieste mokėsi smuiko pas Dany Dossiou ir Christos Poyzoides Graco meno universitete, o alto – pas Herbertą Blendingerį. 1990-1993 m. jis buvo Graco filharmonijos orkestro altų grupės koncertmeisteris. 1993 m. tapo Vienos „Klangforum Wien“ nariu. Dimitrios Polisoidis daugiausia dėmesio skiria naujajai muzikai, dalyvauja eksperimentinės improvizacijos grupėse. Jis dirbo Graco muzikos universiteto Elektroninės muzikos institute (IEM Graz) kaip meninis bendradarbis, kurdamas gyvosios elektronikos projektus. Tarptautinė koncertinė veikla, bendradarbiavimas su daugeliu garsių kompozitorių, daugybė pasaulinių premjerų, taip pat ir jam sukurtų kūrinių (tarp jų Peterio Ablingerio, Georgo Friedricho Haaso, Bernhardo Lango, Klauso Lango, Göstos Neuwirth, Olgos Neuwirth, George’o Lopezo). 2012 m. Dimitrios Polisoidis buvo apdovanotas Štirijos žemės „Karlo Böhmo interpretacijos premija“.Dėsto pagal Klangforum profesūros programą Graco meno universitete, taip pat Impuls akademijoje ir Tarptautiniuose naujosios muzikos vasaros kursuose Darmštate.Kompaktinių plokštelių įrašai su „hatART“ (Bazelis), „Kairos“ (Viena), „Klangschnitte“ (Gracas), „mode rec“ (Niujorkas), „Lyra“ (Atėnai).
GERALD PREINFALK yra kilęs iš šiaurės Austrijos. Jis pradėjo groti klarnetu ankstyvoje vaikystėje. Atradus įvairias Vienos muzikos scenas, jo pašaukimu tapo saksofonas. Džiazo ir klasikinio saksofono studijos atvėrė platų veiklos spektrą. Nuolatinį smalsumą papildė studijos Bostone (JAV) ir Paryžiuje. Nuo 2000 m. jis yra vieno garsiausių šiuolaikinės klasikinės muzikos ansamblių “Klangforum Wien” narys. Kviestiniai pasirodymai jį suvedė su tokiais klasikinės muzikos orkestrais kaip Vienos filharmonijos orkestras, Teherano simfoninis orkestras ir įvairiais džiazo ansambliais: su Alegre Corrêa, Christian Muthspiel ir kt. Jo paties projektai varijuoja nuo klasikinės kamerinės muzikos su fortepijonu, teatro muzikos, saksofonų orkestro iki laisvosios improvizuotos muzikos (GeoGeMa). Nuo 2008 m. jis yra klasikinio saksofono profesorius Graco mieste (Austrija).
KLANGFORUM WIEN save pristato kaip neabejingų keliautojų, tyrinėtojų ir klausinėtojų kolektyvą. 23 muzikantai iš 10 šalių kartu su svarbiausiais mūsų laikų kompozitoriais tyrinėja naujus meninės kūrybos horizontus. Atviri savo mąstymu, virtuoziški grojime, preciziški klausyme – „Klangforum Wien“ pasižymi nepakartojamu skambesiu, kuria patirtis ir meta iššūkį klausytojams.
„Klangforum Wien – tai 1985 m. Beato Furrerio įkurtas šiuolaikinės muzikos solistų ansamblis, koncertuojantis visame pasaulyje – per sezoną surengia daugiau kaip 80 pasirodymų visoje Europoje, JAV ir Japonijoje. Prasidėjus 2018/2019 m. koncertų sezonui, Basas Wiegersas perėmė „Klangforum Wien“ vyriausiojo kviestinio dirigento pareigas iš Sylvaino Cambrelingo, kuris ir toliau liks susijęs su ansambliu kaip vyriausiasis kviestinis dirigentas emeritas. Vienos Konzerthauze „Klangforum Wien“ vykdo savo koncertų ciklą. Kasmet ansamblis užsako kompozitorių kūrinius ir atlieka daugybę pasaulinių premjerų ir premjerinių pasirodymų.
EN
DIMITRIOS POLISOIDIS was born in Thessaloniki in 1961. He studied violin with Dany Dossiou in his hometown and Christos Poyzoides at the Art University of Graz and viola with Herbert Blendinger. 1990-1993 he was principal viola in the Philharmonic Orchestra in Graz. In 1993 he became a member of the Klangforum Wien.
Dimitrios Polisoidis is mainly engaged in New Music and participates in experimental improvisation groups. He worked as an artistic collaborator at the Electronic Institute of the University of Music in Graz (IEM Graz) on live electronic projects. International concert activity, collaboration with many renowned composers, numerous world premieres also of works composed for him (among others by Peter Ablinger, Georg Friedrich Haas, Bernhard Lang, Klaus Lang, Gösta Neuwirth, Olga Neuwirth, George Lopez). Dimitrios Polisoidis was awarded the “Karl Böhm Interpretation Prize” of the Province of Styria in 2012. Teaching activities within the framework of the Klangforum professorship at the Art University of Graz, as well as a lecturer at the Impuls Academy and the International Summer Courses for New Music in Darmstadt. CD recordings with hatART (Basel), Kairos (Vienna), Klangschnitte (Graz), mode rec (NY), Lyra (Athens).
GERALD PREINFALK comes from the North of Austria. He started playing the clarinet at early age. The Saxophone became a vocation when discovering Vienna’s various scenes for music. Studies of Jazz- and Classical-Saxophone opened a wide range of activities. Guest studies in Boston (USA) and Paris completed this constant curiosity. Since 2000 he is a member of Klangforum Wien, one of the most renowned contemporary classical music ensembles. Guest appearances have teamed him with classical orchestras like Vienna Philharmonic, Teheran Symphony and various Jazz ensembles with Alegre Corrêa, Christian Muthspiel etc. His own projects reach from classical chamber music with piano, over Theatre-music, Sax-orchestra to Free-Improvised-music (GeoGeMa). Since 2008 he holds the Professorship for Classical Saxophone in Graz (Austria).
KLNGFORUM WIEN – A collective of fearless wanderers, explorers and questioners.
23 musicians from 10 countries explore new horizons of artistic creativity together with the most important composers of our time. Open in their thinking, virtuosic in their playing, precise in their listening – the Klangforum Wien draws on an unmistakable sound, creates spaces of experience and challenges the audience.
The Klangforum Wien is a soloist ensemble for contemporary music founded in 1985 by Beat Furrer. Worldwide concert activities with over 80 performances per season take the 23-member ensemble throughout Europe, the USA and Japan. With the start of the 2018/2019 concert season, Bas Wiegers took over the position of Principal Guest Conductor of Klangforum Wien from Sylvain Cambreling, who will remain associated with the ensemble as Principal Guest Conductor Emeritus. The Klangforum Wien performs its own cycle at the Vienna Konzerthaus. Every year the ensemble commissions compositions from composers and performs numerous world premieres and first performances.
VIBRANCE
2022-09-24┃20:00 h | Galerija „Arka“ (Aušros Vartų g. 7)
„Input Duo“ – Alberto Anhaus, Núria Carbó (Šveicarija)
Tadas Stalyga – Pockets
Augustė Vickūnaitė – Momo
Alessandro Perini – Three studies for two voices
Luca Guidarini – Amber Mold
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Vedėjas – Jurgis Kubilius
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[EN below]
KONTAKTAS – tai provokuojančios naujos muzikos renginių serija, kurioje skamba įdomiausi šių dienų kompozitoriai ir atlikėjai. Čia pristatomi nauji kūriniai, o ypatingą reikšmę turi kūrybiniai procesai, apimantys kompozitorių ir atlikėjų bendradarbiavimą. Abi pusės kviečiamos eksperimentuoti, ieškoti naujų instrumentų raiškos būdų ir permąstyti savo kūrybines nuostatas.
Pirmasis 2022 metų sezono koncertas – tai bendras šveicarų šiuolaikinės muzikos kolektyvo „Input Duo“, Lietuvos menininkų Augustės Vickunaitės ir Tado Stalygos bei italų kompozitorių Luca Guidarini ir Alessandro Perini eksperimentas, siekiantis tyrinėti gyvos elektronikos ir įvairių objektų skleidžiamų garso vibracijų derinį. Atlikėjai, atsisakę visų tradicinių instrumentų, bet įgalinę savo fizinius kūnus bei jų judėjimą kaip muzikos elementus, tampa mediumu, leidžiančiu šioms vibracijoms sklisti. Konceptas remiasi filosofine antropocentrizmo pasaulėžiūra, teigiančia, jog žmogus yra reikšmingiausia būtybė visatoje, o pasaulis yra vertinamas remiantis žmogiškomis vertybėmis ir patirtimis.
INPUT [DUO] – tai kolektyvas, skirtas naujoms muzikos kalboms tyrinėti. Alberto Anhaus ir Núria Carbó suburtas, ir Berne, Šveicarijoje įsikūręs „Input Duo“ siekia ieškoti naujų muzikos išraiškos būdų, derindamas elektroninius prietaisus, mechaninius objektus ir neįprastus instrumentus. Kolektyvas pristato multimedijų pasirodymus, pagrįstus vaizdo, šviesos ir elektronikos sąveika, ir kuria universalius ir logistiškai patogius projektus, kurie tiktų šiuolaikiniam sparčiai besikeičiančiam, ekspansyviam pasauliui.
EN
KONTAKTAS is a platform for provocative new music featuring today’s most exciting composers and performers. New pieces are presented here, and the creative processes of KONTAKTAS are of particular importance, involving collaborations between composers and performers. Both sides are invited to experiment, explore new ways of expressing instruments, and rethink their creative attitudes.
The first concert of the 2022 season is a joint experiment of the Swiss contemporary music collective Input Duo, Lithuanian artists Augustė Vickūnaitė and Tadas Stalyga, and Italian composers Luca Guidarini and Alessandro Perini, which aims to explore the combination of live electronics and sound vibrations emitted by various objects. The performers, who have abandoned all traditional instruments but have empowered their physical bodies and their movement as musical elements, become a medium that allows these vibrations to spread. The concept is based on the philosophical worldview of anthropocentrism, which claims that the human being is the most significant being in the universe, or that the world is judged on the basis of human values and experiences.
INPUT [DUO] is a collective for the exploration of the new languages of music. Formed by Alberto Anhaus and Núria Carbó, and based in Bern, Switzerland, Input Duo aims to find new ways of music expression through the combination of electronic devices, mechanical objects and non conventional instruments. The collective proposes multimedia shows, based on the interaction between video, light and electronics and wants to create versatile and easy-to-move projects, to fit into today’s fast-paced, expansive world.
Synaesthesis: Arminas Bižys (sax) & Simonas Kaupinis (tuba)
new conceptual music works for saxophone, tuba, electronics and video
PROGRAM
Agnė Matulevičiūtė – Music for Mars
Snieguolė Dikčiūtė – Convention
Antanas Kučinskas – Tuba & Saxophone
Simonas Nekrošius – Satellite.A.B.
premiered on 07.10.21 | Sodas 2123
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ABOUT:
Agnė Matulevičiūtė
Music for Mars
For planet, duet, and electronics
The title of the work refers to Brian Eno’s ‘Music for Airports’ wherein the composer created an airport soundscape to calm the atmospheric stress and tension felt there. Since soundscapes do not exist in outer space, composer Agnė Matulevičiūtė decided to take a speculative approach to this fact and add to it by creating a piece for the fourth planet of the solar system–Mars. This is a kind of attempt to imagine the possible sonic environment of Mars. The musical material of the work is based on the interpretation of NASA satellite images sent from Mars. The performers of the work–the participants of the sonic space expedition–will perform this soundscape for Mars in a state close to weightlessness. After the premiere in Lithuania, the next performance is planned for ISS (International Space Station) | NASA.
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Snieguolė Dikčiūtė
Convention or agreement
A graphic score designed to analyze the controversial attitudes/perspectives of convention (in the broadest sense) seeks not to verbalize, but to create an emotional field through artistic means that reflect polarized emotional experiences and feelings and their interactions.
Feelings encourage us to react here and now. We feel the impulse to act. Whether we feel anger, sadness, fear, disgust, joy, excitement, or sexual arousal, the basic feelings prepare us for action. Listening to the body in the moment when we experience feelings, we feel a certain impulse. Each basic feeling has specific impulses that take on a subjective artistic expression during the performance of the work.
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Simonas Nekrošius
Satellite.A.B.
GPS device tracking the musicians’ Arminas Bižis’s and Simonas Kaupinis’s trajectories throughout the day.
The sections of the intertwined routes became compositional points AB, marking the beginning and the end of the work. In this way, the musicians dictated the direction of movement for the wooden, ground-based Satellite A.B, created by Simonas Nekrošius, which, when pushed from point A to point B, records the environment and the sounds of movement. The latter segments become the conceptual score of the work and the starting point for the musical piece.
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Antanas Kučinskas
Tuba & Saxophone
The idea of the composition is the contact between low and high, loud and silent, big and small, or the instrumental / performing instances of mutual understanding and contact. The performance is accompanied by a real-time video projection breaking up the performance space into several locations.
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Organized by Aktualios muzikos projektai
In partnership with Mama studios, Synaesthesis, LRT Klasika
Sponsored by Lithuanian Council of Culture, Vilnius City Municipality, LATGA
Donatienne Michel-Dansac (soprano)
new works for voice and electronics
PROGRAM
Albertas Navickas – Respire
Jūra Elena Šedytė – When I‘m Entering My Garden
Ričardas Kabelis – After
Šarūnas Nakas – How It Is
premiered on 28.11.21 | Organum Hall
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ABOUT:
Albertas Navickas
Respire
Respire (2021) for voice explores the component of the human voice comprised of air. It draws inspiration from and uses the text of Demystification 27, a poem by contemporary American writer Miranda Mellis.
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Jūra Elena Šedytė
When I‘m Entering My Garden
The piece is inspired by a meditative, therapeutic practice, when a human concentrates only on the environment she/he sees at a particular moment and treats it as a reflection of her/his inner world. By focusing only on the experience of the environment and the thoughts related to it, a human observes how her/his consciousness gradually settles in the space of the changing external world.
While there the music is a poetic attempt to convey psychological experiences, four spaces and states of mind will sound here, though this work is not a soundscape. The duo of soprano and electronics will invite the listeners to find some space in their inner places for resounding echoes of the past.
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Ričardas Kabelis
AFTER
For voice, megaphone and electronics
At the end of love and music, humanity, blindfolded, shoots at the moving target of the end.
Text by Publijus Porfyrijus
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Šarūnas Nakas
How It Is
Almost without sound, without hope, just downward through a hundred ever-sparser syllables, simply into the void.
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Organized by Aktualios muzikos projektai
In partnership with Mama studios, Synaesthesis, LRT Klasika, Institut français de Lituanie, Goethe-Institut Litauen
Sponsored by Lithuanian Council of Culture, Vilnius City Municipality, LATGA
Marta Finkelštein (piano)
new works for extended piano
PROGRAM
Gintaras Sodeika – Hypnopompic
Justina Repečkaitė – Sturnus vulgaris cohibitus
Martynas Bialobžeskis – Random Piano
Jonas Jurkūnas – Lesson Two
premiered on 11.12.20 | Mama Studios
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ABOUT (LT):
Gintaras Sodeika
Hypnopompic
For piano and electronics module
“…the target of the penal system is no longer the body of the criminal who has rebelled against the king, nor is it the subject of the law. It is the individual being disciplined. An individual who needs to be corrected, undergo therapy, get normalized, and transformed. The ideal of the modern penal system is unlimited discipline; it is an endless interrogation, closely and analytically observing the subject and recording any movement in any direction. Surveillance is an extension of the justice system, which is riddled with discipline and examination procedures. This is why Foucault says:“Is it surprising that the cellular prison, with its regular chronologies, forced labour, its authorities of surveillance and registration, its experts in normality, who continue and multiply the functions of the judge, should have become the modern instrument of penalty? Is it surprising that prisons resemble factories, schools, barracks, hospitals, which all resemble prisons?” (Foucault 1995: 227). Could it be that this is just the state before awakening – hypnopompic?
Hypnopompic – “relating to the state immediately preceding waking up.”
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Justina Repečkaitė
Sturnus vulgaris cohibitus
For piano and speakers inside the piano
Sturnus vulgaris cohibitus
Common starling confined
The impact of the quarantine on nature was pronounced: when people were confined to their homes, animals felt more at ease in cities, pollution and noise levels were reduced, and bird songs became more audible. Confined to my home, in my garden, I began to observe the flocks of starlings and to listen to their seemingly unmelodic songs. I wanted to encapsulate their voices in a virtual instrument.
Sturnus vulgaris cohibitus reflects this idea of enclosure.
The piano part has a developed rhythmic language and is treated as a percussion instrument with specially prepared strings in a large resonating box. Small speakers inside the piano play short starlings’ calls, which have a timbral function, creating a reverberation and delayed echo of the instrument being played.
As the register expands, the work develops, maintaining the dependence between the piano part and the phonogram. The composition symbolizes a bird trapped in the strings, which only makes sounds when struck by the instrument’s hammers, but never loses hope of breaking free.
Kristijonas Našlėnas programmed the virtual starling instrument.
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Martynas Bialobžeskis
Random Piano
For piano and live electronics
“Random Piano” is my third piece in the Random series (after Random Reeds and Random Strings). The title suggests that the creative process was determined by chance. I myself understand it as “chaotic order” or “ordered chaos.” It is not completely aleatoric – there are quite clear supporting tones (E and F and a slightly weaker G). The segments based on these are mixed together in a rather random way.
Emotionally, the piece is a journey from anger and tension toward light sadness, with a brief stopover in melancholy (the work can be divided into three sections).
I also did not avoid joking around – in the electronic recordings one can hear a girl telling a story about Bruno the lazy bear. Theatre, albeit radio, still followed from behind and caught up to me.
Text by Sue Clarke.
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Jonas Jurkūnas
Lesson Two
For piano and digital guitar
This is the second lesson. The first lesson took place in 2019 at the festival “Sirens.”
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Organized by Aktualios muzikos projektai
In partnership with Mama studios, Synaesthesis, LRT Klasika, Lithuanian Composers Union
Sponsored by Lithuanian Council of Culture, Vilnius City Municipality
Florentin Ginot (double bass)
new works for double bass and electronics
PROGRAM
Rūta Vitkauskaitė – Prayer for an Extinct Language
Ramūnas Motiekaitis – Lightness
Andrius Šiurys – une poudre noire pleut doucement sur ma veillée
Rytis Mažulis – Symploce
premiered on 16.12.21 | Arts Printing House
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ABOUT:
Rūta Vitkauskaitė
Prayer for an Extinct Language
I am interested in onomatopoeic words – the names of animate or inanimate objects, whose sounds depict their meaning. Contemporary words like ‘whack’ or ‘pop’ are common. Although there are also much older words, whose conceptual meaning is long lost, yet the sound vibration still carries the essence of the word. In Lithuania, the tradition of sutartinės singing still thrives – polyphonic clustering canons, endlessly repeated, traditionally sung by women. Certain words can only be found in these songs: lylio, rama, rūta. In a way, they are similar to Indian mantras. In Norway, Sami tribes still carry a beautiful tradition of creating onomatopoeic songs, depicting ‘the essence’ of humans or animals. In various tribes across the globe, onomatopoeic words are used for healing or cursing. When I moved to Scotland, I learned that in the old Gaelic language each letter means a tree, and that natural objects such as the wind or birds, are called the way they sound. The same is true in Old Norse and Norn languages, which are still alive in the Orkney Islands.
Researchers call onomatopoeic words ‘fossils in our modern language’ and suggest that onomatopoeic words appeared in prehistoric times when in our ancestors’ music and language were developing as one. Language then was not localized, but was spread across the brain, same as music.
All this research came together in ‘Prayer for an Extinct Language’. I imagined ‘speaking’ through music, through repetitive gestures delivering concepts that are hard to describe using words in our modern language. I used the violin, my main instrument, in my creative process, as well as my own invented words. Many of them I later re-wrote into the score, which was then adapted for double bass in collaboration with Florentin Ginot. It is now a solo contrabass piece, the prayer of the contrabass for an extinct language, traces of which we might still possibly recognize in our subconscious mind.
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Ramūnas Motiekaitis
Lightness
For some reason, when I was writing this piece, I imagined an acrobat walking on a tightrope between mountains. In the blowing wind, one has to be heavy enough to keep one’s balance. But one must also be light – never leaning too far in either direction. The hardest thing in this situation is to accept the fact that the fall is inevitable, irrevocable.
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Andrius Šiurys
une poudre noire pleut doucement sur ma veillée
“gazing at the sky in childhood sharpened my eyesight: all sorts of characters cast shadows on my face. The phenomena in motion. — And now, the everlasting inflection of moments and the mathematical infinity hunt me throughout the world where I experience civic success and am respected by a strange childhood and overpowering affections. – I dream of a war, justified or provoked, of unexpected logic. It is as simple as a musical phrase.”
Arthur Rimbaud “Illuminations”
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Rytis Mažulis
Symploce
This piece was conceived as a monophonic composition for solo double bass. Its rhythmic structure is based on a construction of chromatic series of triplet eighths, sixteenths, sixteenths quintuplets, and septuplets. The groups of notes of different durations are arranged in symmetrical order. The pitches are divided into various micro intervals: octatones, sixtones, quartertones, and third-part tones. An additional parameter is the sonoric effects of the performance are considered as an additional parameter and may be applied voluntarily by a performer. The title of this piece is a term from Baroque musical rhetoric–the Greek word ‘symploce’ meaning ‘inweave’ or ‘interweave’. This piece was commissioned by the Kontaktas concert cycle and is dedicated to Florentin Ginot.
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Organized by Aktualios muzikos projektai
In partnership with Mama studios, Synaesthesis, LRT Klasika, Institut français de Lituanie, Goethe-Institut Litauen
Sponsored by Lithuanian Council of Culture, Vilnius City Municipality, LATGA
Andrius Rekašius (percussion)
new works for snare drum and electronics
PROGRAM:
Andrius Maslekovas – Sons Calligraphiques
Dominykas Digimas – In the Courtyard
Lina Posėčnaitė – Silhouettes
Kristupas Bubnelis – Q
premiered on 26.12.20 | Mama Studios
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ABOUT (LT):
Andrius Maslekovas
Sons Calligraphiques
For snare drum and tape
A dash that means nothing appears next to another similar dash, beside an inkblot splattered with a brush… Gradually, the outline that forms in the mind is covered again and again by new layers of shadows, each time adding to and distorting the image that has already been created… This process travels through different dimensions – from the imaginary movement of the brush, to the movement in the manuscript of the score that conveys it, to the movements of the performer who replicates them, helping to transform the image into sonic calligraphy.
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Dominykas Digimas
In the Courtyard
For percussion and pre-recorded voice
There is a place where the desire to speak disappears, and eventually thought disappears, and without realizing, you become part of everything. The inner courtyard comprises three interconnected pentagonal areas of different sizes, with a chapel dedicated to St Sophronius in the center. If you look up, you can see the sky framed by the walls with four bells hanging in one corner…
This piece for percussion is a reflection of the sensation of being there–in three different tempos and meters, the light beats of four instruments merge, losing their individuality and becoming one.
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Lina Posėčnaitė
Silhouettes
For snare drum and tape
In Silhouettes, the drum is not a drum, but only a surface and a resonator for various sounds, of which the “reverberation” (the electronic part) does not belong at all to the sounds it follows… The “reverberation” forms abstract acoustic shapes extending broadly from the non-existent sounds, as if they were elongated and ephemeral silhouettes.
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Kristupas Bubnelis
Q
For six percussion instruments
The title of the work seems to suggest a wide field of connotations, but the most accurate way to define it is to treat Q as a characteristic range within the frequency band. The narrower the Q value, the more clearly harmonic or resonant it is, and vice versa. In addition to the two solo drums–the central instruments of the work–the other four drums add resonances of varying intensity to the white noise timbre of the solo drum. The subtitle “Ritual and Improvisation” refers to the two contrasting characters of the musical material– the repetitive textures generated by Pascal’s algorithm, which require the performer’s maximum concentration and almost trance-like immersion, and the segments of an improvisational nature, which leave greater freedom for interpretation. The opposition of these two poles constitutes the main dramaturgical tension of the work.
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Organized by Aktualios muzikos projektai
In partnership with Mama studios, Synaesthesis, LRT Klasika, Lithuanian Composers Union
Sponsored by Lithuanian Council of Culture, Vilnius City Municipality
Agnė Matulevičiūtė
Albertas Navickas
Andrius Maslekovas
Andrius Rekašius
Antanas Kučinskas
Arminas Bižys
Dominykas Digimas
Donatienne Michel-Dansac
Florentin Ginot
Gintaras Sodeika
Jonas Jurkūnas
Jūra Elena Šedytė
Justina Repečkaitė
Kristupas Bubnelis
Lina Posėčnaitė
Marta Finkelštein
Martynas Bialobžeskis
Ramūnas Motiekaitis
Andrius Šiurys
Ričardas Kabelis
Rūta Vitkauskaitė
Rytis Mažulis
Simonas Kaupinis
Simonas Nekrošius
Snieguolė Dikčiūtė
Synaesthesis
Šarūnas Nakas
