Interview: Raminta Serksnyte

After a few weeks hiatus, I am back to the blog! Full refreshed after a lovely jaunt to Kintai surrounded by the Lithuanian countryside and gorgeous company. I also am able to finally show my interview with Raminta Serksnyte. A truly magnificent composer, Raminta's music stands as quite the leviathan within the local scene. Her music has been performed internationally including recent performance in Birmingham with the CBSO.

As mentioned in my previous post about her work De Profundis her early works were far more defined by minimalistic flavour akin to multiple other Baltic at the time, but after her Oriental Elegy her music took a drastic turn. Her musical colour is full of all the grandeur and flourishes of the post-spectral composers, as well as having a rich harmonic language to make her musical palette so vast. For me, what gives her music such strength is the way it combines all of these elements in such an elegant and fluid manner. Every piece I have heard has attracted my ears, and it was a joy to read her responses. 

Sveiki Raminta, thank you for being willing to be interviewed for the blog. I wanted to first ask you to describe your music for those unfamiliar with your work.

Labas Benai, thank you for the interest in my music. I compose music of various genres –from intimate chamber music to pieces for large-scale orchestra and opera. The balance between intense emotional expression and rationally composed structures has vital importance for me. My main sources of inspiration are nature and a broad spectrum of psychological states: from mysterious, nostalgic mood to dramatic expression and outbursts of vital energy. I consider the composition as a certain uplifted state of mind, materialized by means of sounds, where impressiveness depends on the composer’s technical mastery. 

The main principle of my music is the fluctuation and fusion of non-traditional “major and minor” (in their broadest sense). I would name my composing technic as “chiaroscuro”, with constant alternations of “light” and “dark”, “warm” and “cold” sonorities.

In your work, particularly that post Oriental Elegy, I find an almost sponge like quality. What I mean by this, is your ability to draw upon on almost all forms of musical expression alive today, including spectralism, musique concrete instrumentale, minimalism, and sonorism, and use them as a specific tool within your work. How do you go about exploiting these various musical gestures? And which piece do you think is the most successful at this?

From the early years I liked very different music, which naturally had an influence on me.  The spiritual and emotional impact is extremely important to me, and I often do not care too much about the style. In my opinion, a very simple piece or “new complexity” one can have a similar impact. The ability to compose music in different styles and genres can be compared to being multilingual. In every piece, I try to find the most suitable “musical language” which would be the most efficient in conveying conceptual ideas. Despite any stylistics, all my compositions contains the main principle of my music – the balance and fusion of “major and minor”.   The oratorio “Songs of Sunset and Dawn” is a good example of such “fusion”.

You have had the great fortune of being internationally performed, almost everywhere it seems, but where do you think Lithuania’s standing in the world is? Do you think Lithuania is slowly gaining musical influence? Or is it still trying to remove previous stereotypes and baggage?

In fact, the history of the professional Lithuanian music started just a bit more than 100 years ago.  This short time has seen many dramatic historical events, and Lithuanian music experienced fall and rise. Though during last decades, especially after re-establishment of Lithuanian independence in the 90s, [the] situation has changed drammatically. Thanks to some internationally renowned performers and composers, Lithuania is slowly gaining musical influence in the world.  The contemporary Lithuanian music is often described as “Baltic melancholy“, “specific minimalism“ , which is reflected by repetitious rhythms, consonant harmony, slow and long developments.

From your perspective as teacher within the Lithuanian Academy of Music and Theatre, are there any young voices coming up through the years who you find are promising composers?

It is difficult to predict the future of the young composers, though during every exam session I find a few interesting works. Some pieces by Juta Pranulytė, Monika Sokaitė and Jūra  Elena Šedytė  are  quite impressive.

Finally, as I have done with all my other interviews, if you were stranded on a desert island, which five recordings, CDs, LPs would you want to have stranded with you?

•      Mozart “Requiem”
•      Björk “Homogenic”
•      Čiurlionis “The complete piano music”
•      Tibetan singing bowls (or any other sounds of bells)
•       Gordon “Decasia”

What made me smile most about these responses, was how in keeping with her character the responses were. Never speaking without purpose, much like her music, everything is direct and to the point and that is probably what draws me in the most. Her music is, just because it is. No question, no need for grand arguments, just simply magnificent music.

Enjoy, and until next time!

Interview - Raimonda Ziukaite

After the usual end of term faff, and moving back to the UK, I am finally in a position to return to the blog. And what a time too! I have got the response from a fascinating young composer who agreed to be interviewed for the page. 

The composer in question is Raimonda Ziukaite, and those who have seen previous posts will notice how positive I have been about a lot of her output in recent months. I find, as composer, she is really growing into something very interesting, so I was extremely enthusiastic when she agreed to the interview. 

Labukas Raimonda, firstly to start off things – how would you describe your music to a newcomer who is not familiar with your work?

Labuka. Well, if this is a newcomer to contemporary music in general I would firstly say: 

'it will be weird, you know… you might not like it.'

But if it’s a person, already familiar with contemporary music, then I would say my compositions have a clear idea, gradual process, homogeneity, multilayers. Some pieces are atmospheric, some are energetic, full of vitality (like nature element), and I wish to create more of this 'powerful sound' (like in heavy rock/metal). I don’t like scattered gestures and eclecticism, which I find in the most of contemporary music. In my opinion, music should have a form/inner logic a recipient could grasp. However, I think I still haven’t achieved 'my style', this specific, personal sound I can imagine, I’m still on the way to it. In addition, from 2013 I’m researching a (major/minor) triads and their systematic voice leading networks which might be used in composition. (Later it appeared it has to do with Neo-Riemannian theory). Currently I’m pursuing my doctor degree on it. My ambition is to establish a composition system based on a triad as a structural unit.   

Within your work, I notice an intense philosophical focus. The works each seem to be a playground for your own discoveries and contemplations – how do you feel achieve this within your work?

My motto is to 'never repeat myself'. It could be quite a childish, idealistic, naïve attitude, but I don’t want to produce, 'make' music randomly, thus kind of polluting the aether. For each new work there should be a new and pure idea, which is then developed by structural-processual thinking. During my study years, I used to create like this: let’s say that the idea for the piece will be harmonic (overtone) series and prime numbers. So I’m taking only prime numbers from the harmonic series and constructing 4 series, then permutating and getting 4 layers of it, for the rhythmic applying… guess what…prime numbers again!  (Prime Galaxy). In this way, everything is justified, each note doesn’t come from nowhere (blame it on the structure!). Or I’m taking a harmonic/overtone series and making another 4 rows (untertones, inversions, retrogrades), and then building additional series from each of the member of prime series (like fractals). Thus I’m getting my 'field of musical material' of a perfect structure and then comes the most difficult question: so what? How to transform it to real musical piece, how to play it? Then one needs to figure out adequate textures… Of course, this way of composing lacks personal expression and now I’m willing to involve more of my imagination and hearing into composing. Another curious thing: one teacher said 'but you control everything except the resulting sound itself.' But, working with structures, sometimes it comes nice accidental things. In the case of Vilniaus Bokštai, the structure came into beautiful shapes of towers like score painting and in the end sounded jazzy D7. People thought I done it on purpose, but it was the structure itself! On Chromatography I even saw triads as colours and composed quite intuitive, according the vision of colours. After an analysis, the piece appeared to have a logic structure anyway.

Which composers have most inspired your work? Either directly or just on philosophical levels?

First of all, my teacher Ricardas Kabelis, maybe not as a role model of a composer in terms of his music (never wanted to copy him), but as a very influential teacher, who over 6 years taught me the methods and principles of composition. Talking about sound aesthetics, I enjoy to listen to Michael Gordon and Julie Wolfe (Bang on a Can), Fausto Romitelli, Gérard Grisey, Per Nørgård, Georg Friedrich Haas (limited approximations). My recent discovery was Francesco Filidei. Although his style is an opposite side of the sound of my works, but it really grabbed my attention. And from Lithuanian composers I like music of Žibuokle Martinaitytė, Justė Janulytė, Nomeda Valančiūtė, Egidija Medekšaitė (it’s a coincidence that all are women!) and some more.

During my time here in Vilnius, I see the contemporary music scene is still coming to terms with what it wants to be. Would you agree with this statement? And where do you think it is going? How do you think you fit into the scene?

Firstly, it’s a very small community, and furthermore, some styles/techniques are more frequent here, as if there would be some 'Lithuanian' (or maybe Baltics) sound: slow, nostalgic, meditative music one could call 'Lithuanian minimalism'. There isn’t so much variety in styles (like for example, there isn’t much of new complexity, (thanks God...). Some trends come to Lithuania later as well, although now more and more of young generation goes abroad and gain experience there so the situation might change. Anyway, maybe it’s in my blood (ears), but I enjoy Lithuanian scene/sound.

My relation to it is not so obvious, since so far I don’t feel like I’m making a big career being an important name here. Moreover, somehow I feel repelled from a traditional career path of a contemporary composer: writing for classical instruments, contemporary music ensembles and composing another piece sounding the same as my colleagues. As if there is some born-hardwired need to be an outsider in general, I would love to find my own, personal, unique niche in music scene. The middle way, the average is always the safest, but I’m more tending to 'everything or nothing', although not always having courage for it. I often ask myself, what is the purpose of all this? Maybe that’s why I’m quite unproductive.

That might be related with the feeling I get while listening to contemporary music (and now I’m not talking about Lithuania scene). What is bad with it everywhere: mostly it doesn’t strike. Everybody in the world is making 'something' but rarely it grabs attention, it affects. Composers (I’m not an exception) composing for themselves, solving some issues in their heads which are interesting only for them or, in other words, playing some mind games and then expressing it through music, but the outcome sometimes are like 'meh': me as the listener sitting in a concert and dreaming or even (if it’s really boring) starting to read something... Not mentioning that most of the pieces in that concert sounds the same and you can’t remember them. The popular music wins at least due to its ability to ignite some emotions. The academic contemporary music has this potential too, sometimes even succeeds, but that’s more an exception. 

What are you currently working on? Are there any major works in the pipeline?

Since I’m studying for a doctor’s degree (to be exact, A.D. – doctor of arts) now, I need to fulfill my 'doctor plan' – this makes me a bit more productive (usually I used to compose only one piece per year!) This spring I was composing for ensemble and decided to do everything totally opposite as I’m used to, like an experiment (the piece Katedros involved aleatoricism, extended playing techniques, Baroque music quotes). In addition, this half year witnessed a revival of songwriting for a rock band. Among the nearest future plans is to make algorithmic composition by applying neo-Riemannian theory and of course to find my place, this unique niche I mentioned before, in a music world. J

To finish, if you were on a desert island, what five recordings/vinyls/CDs would you have with you?

Now I won’t mention contemporary music. I would take my own playlist/mixtape of various artists 'Songs of my Life'- songs, which contain some kind of emotional charge to me. These would include some music of Pink Floyd, Agalloch, Alcest, My Bloody Valentine, Pearl Jam, Bob Dylan’s song Knocking On Heavens Door and some Lithuanian songs to remind home. And in case there is no electricity in that island, I would bring a music instrument to play and sing myself.

A rather interesting interview indeed, I am definitely looking forward to see how she continues to grow as a composer. For those curious, you can find all her recordings here. And once my luggage finally appears in my flat, I can start going over my new collections of CDs from Lithuania, Latvia, and Estonia. So until then!

Interview - Andrius Maslekovas

So here we are, 2017, who knows what on earth is in store for the following year. To add more to this blog I thought it was about time to start interviewing composers to introduce them in a more direct manner. So here is our first composer; Andrius Maslekovas. Throughout my years of dealing with the Baltic Andrius has been a composer of the periphery of my work. His work has been an interesting development to observe for multiple reasons, most significantly because he seems to epitomise native Lithuanian concerns, but also because he work seems to be leading him to quite an original path indeed. 

A pupil of Raminta Serksnyte, Andrius's work has had a massive fascination with sonoristic music and the possible avenues available to it. The most significant obsession has been within aritculating and gesturing in a sonoristic landscape, an endeavour which he pursued for his doctoral studies. As he is still a rather 'young' composer I don't wish to pigeonhole him too soon, but I am more than keen to see how he continues to develop as a composer. Without any further ado here is the interview:

As the newest doctor to flower in the Lithuanian Academy of Music and Theatre, I thought that gave me a great excuse to turn to you as my first interviewee. I have been very familiar with your work for multiple years now, but for those less familiar can you describe your musical output?

I am very pleased to be the very first interviewee in what seems to be a start of a big great series. It is an honour.

You are starting this interview with a very difficult question (j). If it was possible for me to thoroughly describe my musical output in a verbal form, I don’t think I would be composing music. In my music I usually try to grasp some impressions with my other four senses (taste, sight, touch, smell) and transform it to some kind of aural depiction. It is evident in the titles of my compositions, e.g. The Moments of White Transparency, for violin and piano, Incantation of the Freezing Haze for flute solo, Dissipating Fragrances for violin and accordion etc. In order to achieve that I usually rely on what I call an “articulation of sound quality” which encompasses a heavy and strategic use of timbres, extreme dynamics, precise articulations, specific rhythmical figures that enhance the perception of sound quality, etc. I really liked how my artistic supervisor Raminta Šerkšnytė described my music, she called it a Calligraphical Sonorism. In fact,  sometimes I even employ principles of painting and calligraphy in particular. These principles are evident in such compositions as Calligraphies of the Last Rays for clarinet viola and piano, Winter Calligraphies  for symphony orchestra, Sand Paintings for symphony orchestra, Three Canvasses of Anthracite Coloured Water for 16 strings, etc.

Could you tell us which composers you draw upon within your own work?

There are quite a few composers whose music I find very interesting and who admittedly made a significant influence on my musical style and way of thinking. To mention a few: Toru Takemitsu (especially his music for GAGAKU orchestra, and symphonic pieces), Toshio Hosokawa, Johannes - Maria Staud, Matthias Pintscher, Kaija Saariaho, George Crumb, Martinş Viļums. And here I also have to mention my former professor Marius Baranauskas, whose ouvre was a big inspiration for me even before I started my composition studies. I think I was really lucky to have him as my composition teacher.

As your doctoral thesis was dedicated towards sonorism, what were the discoveries you made during your research?

The thesis is called "Structural and Prestructural Compositional Aspects of Sonoristic Music". It is based upon a hypothesis that structural processes of this music are dependent on certain prestructural aspects, such as particularities our perceptual mechanism, mental sound processing, manifestations of Gestalt principles within different sound parameters, as well as personality type and a unique compositional paradigm. In this thesis I discuss all of these aspects, develop a new analytical approach based on articulation of sound quality and uncover the compositional principles of operating this unique dimension.

I found within your music an interesting clarity and modesty about it, what elements of your compositional process do you believe produces this clarity?

Clarity and modesty... I never heard anyone to describe my music like that. But when I think of it... I guess you're right.  I don't think there is a special technique to add these qualities to your music. I guess they are naturally there, as any kind of music is a reflection of the composers personality. I don't claim to be the most modest person in the world, but maybe that is hidden somewhere deep in my subconsciousness (j).

What are you working on at the minute? And what works are you hoping to create in the future?

At the moment I'm taking a much needed vacation from any creative activities and I don'thave any particular upcoming compositions on my mind. I am open to any commisions and suggestions though... Anyone?

And to round off, let’s do a good ol’ Desert Island Discs which 5 pieces could you not live without?

I'm not a type of person who's always listening to the music, but if I could take 5 pieces to a desert island, I think it would be Rain Tree by Toru Takemitsu, Vertical Song I by Toshio Hosokawa, Apeiron by Johannes Maria Staud and  the last two spots would be for two pieces of my own, can’t pick my favourites just yet (j)… 

For me personally, what has been most curious with Andrius's development is the juxtaposition that has sprouted. In his work Winter Calligraphies the piece has a fascination to and fro between the choir and the orchestra, as well as a fascinating juxtaposition between rich textural gestures and almost modal harmonies. For me this most recent work stands as a testament of where Andrius could evolve as a composer. The rich rolling tectonics of the orchestra crossed with almost 'traditional' choral writing makes for a hypnotic world. His understanding of harmony really compliments and embellishes his fine ear for orchestral colour. His earlier works have always been very direct in their intentions but arguably have been a bit thin, when compared to this work for large orchestra you can see just how aware Andrius is of musical architecture and how it is going to further him in the future. His other works are available on soundcloud, and I do recommend people giving it a listen.


Firstly congratulations again to the now Dr. Andrius Maslekovas, and lets see where his music will take us in the coming years.