Druskomanija takes over LMTA

Its that time of year again, Druskomanija Festival is up and running with lots of music being displayed. Sadly I had missed the opener but, this definitely felt like an interesting concert to set off my week of new music. Based in the great hall of the Lithuanian music academy, the concert gave focus to students from within the academy itself. Considering the traditional competitive forms of entry for the other concerts, this was definitely a rather dignified and diplomatic way of allowing younger composers into the fray. 

After the usual chitter-chatter and preconcert shuffling, the night began with a work for solo tuba and electronics by Jura Elena Sedyte simply titled Apnea. When I saw this on the programme, I was overjoyed. I always admire students for wanting to write for low brass. As a former member of the clan, it is nice to composers giving the instruments much needed repertoire. The combination of electronics gave the opportunity for a really great sense of depth too. However the work wasn't the usual intensity I have come to know and love from the composer. There was a strange timidity to it, this could have simply been because of the lack of security in writing for one lone tuba, however it was a shame to not see this composer shine in the manner I have become accustomed. The work had its merits, of course, but I imagine if she had threw caution to the wind we could have seen a more fascinating work.

Then came some more shuffling before our first string quartet of the night was performed. Seeing Styginiu kvartetas Nr. 2 by Bozena Ciurlioniene written on the programme, I had mixed feelings, one of interest due to this young composer having written a second string quartet; but I also had a feeling of worry, mostly due to the question of whether the work actually sparred with the historic weight of a 'string quartet'. The work opened with a chordal progression of two notes, which instantly vanished for something else; it was hard to see if this was an attempt to write something in an almost Stravinskian blocked manner, or was an attempt to sound 'modern' and 'unpredictable'. As the work progressed this 'random' gesture didn't really reappear, but what followed was an oddly traditional sounding string quartet. I say this for the simple reason the string quartet sounded curiously 'English' the sound, the counterpoint, the harmonic leaning was remarkably similar to Vaughan-Williams or Holst. A curious surprise indeed. The work, as time progressed, began to lose itself and the dialogue in the quartet wasn't particularly explored. I also felt the attempt to respond to history simply didn't happen, so if Ciurlioniene writes a third quartet, I really hope she wrestles with this predicament.

After even more shuffling came Pasakojimai apie Bacha for piano and electronics by Marija Paskeviciute. This was one of two pieces I was particularly familiar with before the concert, so I was curious to see how it fared in a concert setting. The work quite simply is a musical dialogue built up of quotations from Bach's prelude and fugue in C# minor and the prelude and fugue in Eb and layered over many, many, many midi piano parts. Listening to the purely electronic version has a curious experience and the work has an odd charm to it. However this charm is kinda lost in the concert setting. I think this is due to the fact the living pianist almost appears to add nothing to the proceedings, I imagine if the piano part was more 'intensive' or more involved I could have been more impressed by the work, but sadly it was lacking today. 

Following more shuffling, came the one and only wind quintet of the night Penkiu hidrojauciu laukas by Modestas Rinkevicius. This piece was an instant contrast to the two preceding pieces. The work was extremely focused and the harmonic language was suitably self sustaining. There were moments where the rhythmic gestures caught me by surprise adding more to the easy charm of the work. Even though the work wasn't attempting to be 'new' or 'unique' there was a solidity of composition, form, and craft on display which has to be congratulated. A well written work, and I shall keep my eyes open for more from Modestas in the future. 

Following even more shuffling, came the second string quartet of the night. Clementina by Gabrielius Vagelis. The work was a bit overdone. Ultimately the whole musical shape and construction was okay, but didn't have the intensity and variety to justify the overtly sweet bits. The sensation was akin to drowning in treacle. Music dialogue was okay, and the composer showed a sense of craft which has the potential to improve vastly, if he explores and challenges himself, sadly I was just left a little bored by the whole proceedings.

Following more shuffling, came the largest, and most curious ensemble setup. Four female singers, four violin, and wine glasses. Vilte Zakeviciute has been on the periphery of my vision for a while, and I have long contested that there is a lot of potential within her. A strong part of me felt last night was strong and striking move towards something profound. Giesme laukiniam medziui started with a gentle whimper from the glasses before dropping deep into this colour and hypnotic landscape. The shape was well conceived and the musical gestures continued to hit me hard. In short, the work was as striking as it was modest. Vilte had managed to turn the text setting into a blank slate forcing us to make our own opinion of what we had heard and in turn she simply gave us the space to ponder. Single handed this was the piece of the night. Nothing quite matched or could be compared to it. What was ultimately remarkable, is despite the moments of naivete from the composer, the gestures felt mandatory for the piece. It takes a lot of bravery to write things because the piece needs it and just simply allowing yourself what you want to say. I have contested there is a lot of promise in Vilte Zakeviciute, she is definitely heading towards something else. All she seems to need is time.

After more shuffling came Dainora Aleksaite and her work Dvylikos menesiu ciklas fortepijonui 'Du nulis sesiolika'. As a first year composer, this work shows a lot of promise in the composer. From what appears to be her first sincere attempt at constructing in a serial manner, Dainora seemed to dive in headfirst. The work was striking and brutal at times and never really gave anyone a chance to rest. I think in future she could produce some curious works indeed. Time will simply tell.

Then came a clarinet quartet by Beata Juchnevic. Its always nice to see this ensemble at play, because it has a wonderful charm and expansive palette to it. The work Vitrazo atspindziai was an attempt to mash 12-tone thinking with a more 'romantic' idiom. I always shudder a bit when I hear this, simply because Schoenberg, Webern, and Berg were such romantics at heart they saw their music as a way to be freely expressive; so it often feels the composers show a misunderstanding of this circumstance. Beata's work started sporadic gestures, and the dialogue between the clarinet and strings was at times curious, but also at times rather predictable. There were also some interesting harmonies produced due, but overall I felt this came out of the oven too soon. If Beata explores 12-tone music more and especially considers the works of Peter Schat she could produce something interesting indeed.

Then came our third and final string quartet by Adam Farnlof. 5c does was it says on the tin. Obsession with fifths and three sections. Nice straight forward thinking. However the result wasn't as straight forward and refreshing. The opening hits on a unison pitch came off a little lackluster, when I imagine the composer desperately wanted more in it. This being said, there was a curious energy to this opening movement which must be merited. The second movement killed the piece entirely. The movement focused on variations of glissandi and started from a high point and ended low. It was extremely predictable and almost ignored how predictable it was. If it sped through it like the start of a Grand Prix the result would have been startling and fascinating due to the complexity produced by a simple form. Alternatively, if the movement was a stand alone piece lasting an hour, or maybe even three, it would have in turn been fascinating for almost opposite reasons. As it took a clear gesture beyond our traditional understanding, thus abstracting it into something otherworldly, it would have been mind-bending. Sadly neither situation occurred, and we were left with a rather dull, uninspiring movement. The energy, and witty brevity of the finale was destroyed by the preceding movement. So sadly I didn't enjoy it for what would have been quite a charming finale. 

The finale came in the form of Dominykas Digimas's walking through the three points a work for piano trio, which coincidentally had been performed last year in the festival. I don't want to reiterate what I said in the previous rendition, especially as my discussions tonight have primarily been about premieres. However do feel free to read it here. The performance was done well, and the coordination with the visuals was also well achieved. However I felt after the preceding work, the work wasn't quite the antidote we needed. However, this does in no way detract from the pieces aforementioned merits.

I am glad to see the festival is back in full swing! And it must be noted the dedication of a big pool of players to perform in these pieces. Now there is only one thing left to say bring on more concerts! Let's hope Druskomanija 2017 continues to be a fascinating festival!

Kurybos tiltai - Tada, Dabar

This evening was my first concert in Vilnius in quite some time and boy was it an intriguing event. In short, the concert was a performance of all the composers within the third year of undergraduate studies. However, the intriguing catch was the inclusion of pieces by them from either at the beginning or just before they started studying within the Academy. Its a particularly brave gesture as logic would dictate, the younger works would be naive, and relying mostly on the potential of the composer more than necessarily base craftmanship at that point. Having these works paired with newer pieces is interesting, as it instantly and very clearly depicts their trajectory and development as composers. 

The four 'early' works by the four composers were very characteristic of young applicants, mostly owing a lot to the music they themselves performed with some personal twists added into the mix. All four pieces really showed the potential the staff in the academy saw, and in that light were charming and interesting works. I won't go into depth on these pieces, mostly because there's a fine line between criticism and harrassing teenagers. However, the one piece out of the group was Jura Elena Sedyte's Azuolelis (2014) as it shows a composer who has thrown caution to the wind and just wants to explore. So it definitely had the most character without question.

The second half of the concert was built up of purely newer works. Starting with an electronic piece by Goda Marija Guzauskaite called Makabriskos atostogos (2014). The electronics were generally quite simple, but the necessity for them was apparrant quite quickly. The manic piano sounds were extremely reminiscent of Conlon Nancarrow, especially his cheekier pieces like his Boogie Woogie Suite. However in contrast, this work was far more minimalistic in tone too, baring a huge resemblence to works by Rytis Mazulis. The form was clear, but I felt that more could have been done with the electronics in someway, mostly to avoid the piece just being a matter of fact.

The following piece RVCNYP (2017) by Aleksej Kalinin for mixed ensemble of flute, piano, electric guitar, cello, and voice. The work was instantly more 'experimental' with its raw potent use of distortion and crunchy piano sounds. The work shows Aleksej is still exploring and finding his feet, which is a noble and worthwhile task indeed, and he has definitely come on a long way. However, some elements really need to devloped, namely the more 'peaceful' gestures were often very naive tonal harmonies which made the whole performance feel more like a naff prog-rock jam session instead of some hardcore experimental happening. I also felt the flute was just a tad tame in it. I imagine if there was a screaming piccolo flying above the chaos or a bass flute smashing out some juicy multiphonics it would be a more striking use of flute. A big nod has to be handed to the singer Dalia Krapavicikaite who, despite the devilish and terrifying nature of the vocal part within its surroundings, managed to perform it with great precision and control.

Then something more modest followed. Vilte Zakeviciute's Laumiu suvartai (2017) for two accordions was a fascinating filler and departure from her surroundings. The two accordionists proudly walked out, and after some confused shuffling from stage manangement, sat and performed quite a remarkable duo. The work had a crystalline clarity and every gesture felt necessary and purposeful. The overall effect was an almost symphonic piece for an underused instrumental combination. She managed to avoid many cliches of the instrument, and just quietly stated her point. The interplay of ideas was curious and charming, the lively sections were full of bustling potential and the still segments were able to sit calmly allowing everyone to breath. It was simply remarkable, bravo Vilte, and bravi Raimonds Ungurs and Agne Rimgailaite who gave such a well delivered premiere.

After some more shuffling came a larger work by Jura Elena Sedyte. Unlike her compatriots, there was not the same drastic distance between her piece in the first half and her new work. Somnus de Somno (2017) for vocal trio, piano, and electric guitar was in a similar, but more elaborate vein of thought as her earlier Azuolelis. The use of extended techniques, and vocal gestures shows a composer still eager to explore the whole world of sound available to her. With her greater understanding, the musical gestures had a greater sense of dramatic intent, as opposed to just sounding 'edgy'. The vocal writing was extensive, and to be honest was always strongest when it was to the extreme end of vocal sounds. The 'chorale' section felt a bit lackluster, mostly because it did not have the same profundity in construction as her experimental gestures, but the constrast was striking. As a composer she is definitely growing, and I would love her to continue pushing the boat out, and really throwing caution to the wind. 

The finale came in the form of an even newer electronic work by Goda Marija Guzauskaite. Garso Link (2017), was an interesting interplay of instrumental sounds, flowing freely within the playground that is electronic sound. The architecture was solid, and has been in all of the works we heard this evening by Goda, she is quite naturally built for these kinds of things. The musicality was also at its strongest in this piece I felt, but for me the issue lies in the fact there is so much further you can go with electronics, and Goda really needs to dive head first into this cavern to truly make the most of it. There is no question of her knowledge of capabilities, she just simply needs to jump into it, and then she'll be writing truly astounding things.

The concert was a lovely event indeed. My two favourites which stood out for me were Vilte's Laumiu suvartai and Jura's Somnus de Somno. Both Aleksej and Goda are really developing indeed, and it is only a matter of time I imagine before the write something which truly stuns me. I feel an extra nod needs to go out to Dalia Krapavickaite for her wonderful performing, out of all the performers this evening she was definitely thrown the deepest down the well and she evidently took it in her stride. A truly glorious perform indeed. All of them, except Vilte, are on soundcloud, I definitely recommend you have a listen for yourselves.

*The whole concert can be heard here: 

NIKO's visit to LMTA

Today's post is another review of a concert, it has been a while but thankfully many are on their way, so watch this space. The concert in question is a performance by the ensemble NIKO, a string orchestra of sorts conducted by the composer Gediminas Gelgotas. Many of you who have read most of my posts, know I was not the greatest fan of Gelgotas's piece that featured in GAIDA; but I wanted to come along one to not just judge a composer by a single piece. 

My other reason for coming to the concert was because it was a collaboration with the Icelandic string quartet SKARK. This ensemble brought with them some Icelandic influence to add to the proceedings. For those who don't know, Lithuania holds Iceland in very high regards as Iceland was the first nation to officially recognise the Lithuanian state. The collaboration which was rounded off by today's concert was to mark that bold gesture, as well as to celebrate the 25th anniversay of Lithuanian independence. 

The first thing that struck me with the ensemble was their ability to perform without written music in front of them. This is by no means a new feat, but it must be acknowledged for classically trained musicians this is a bold and daring venture. The ensemble play with gusto and it is obvious they and their conductor know each other's nuances. 

Skark were an impressive bunch too, I was a bit sad to not see them more heavily featured as they were a very tight nit group. Their connection to the folk tune they performed was very strong and they had an understanding of the piece that only a native could really get. The rendition of Timinn lidur, trudu mer was as touching as it was playful, a charming charismatic gem indeed. 

The composer Daniel Bjarnason was the only Icelandic composer featured, I was curious to hear him; especially as embarrassingly my knowledge of Icelandic classical music doesn't extend much beyond Jon Leifs, Bjork, and Olafur Arnalds (even as I say this, my old friend Solveig, who played viol alongside me and other nerds in my RWCMD days, would not be impressed with my lack of knowledge). Getting back to the point Bjarnason was a wonderful discovery, the piece Air to Breath was rich in its stills, beautiful in its austerity. The melodic line that was slowly passed from cello, to viola, to violin was done seamlessly, with an aching harmonic backdrop which with every resolution felt like a breath of fresh air (no pun intended). The colouring and power of the work far outweighed its modesty and sincerity. The highlight of the concert by miles (or by kilometres). 

This however strongly contrasts the works by Gelgotas, who in their naivety and crassness  was just infuriating. The first work Sacred Unreligious Soul started with dark colours and 'brutal' gestures from the ensemble, but always felt half baked. The calm moments was even weaker in comparison because there was no real sense of journey towards, or necessity for them. The climax of the work ultimately was ripping of the harmonic language of Peteris Vasks, combined with the hammering bass of a metal band, but ultimately lacked the substance of Vasks and the sheer essence of any metal band worth their clout. I am not suggesting because he is a classical composer he can't do metal, but if he was raw and brutal he should look at Iancu Dumitrescu, if he wants metal on classical instruments he should look at Apocalyptica, and he was wants Vasks he should study Vasks. As I write this, I also realise Gelgotas should also take some notes from Erkki-Sven Tuur, a dude who had his own progressive rock band before being a 'proper' composer and he nails both.

The second piece of Gelgotas to be featured was a reorchestration of Mountains.Waters. (Freedom). I hoped the reorchestration may highlight something that the orchestra that premiered the larger scale version failed to do so. But ultimately the new ensemble of the piece does not rectify it, if you want to see all my thoughts check here.

The final piece of the concert was Gelgotas's Extracadenza, a piece that was very much a finale piece which is did with bells on. Sadly it wasn't as positive as it could have been. The music was just boring and narcissistic, it felt like it was constantly clambering for attention. The work also featured a 'choreography', which ultimately they walked around as over played performing. This is not a new thing, two very examples Cirque du Soleil and Mittwoch by Karlheinz Stockhausen. Both these examples use choreography and daring feats from the performers, even in the premiere of Mittwoch many of the performers were also performers for Cirque du Soleil. When something isn't new, a composer has to ask why are they doing it? If they are going to do it, it needs to do something for a reason and with purpose, but sadly it felt more like attention grabbing novelty. Also on a whole reflection of the concert, Gelgotas's conducting wasn't something I'd be dying to see anytime soon. Throughout I got the distinct impression the only reason it looked good was because the ensemble knew him well and his gestures functioned well for his kind of music, this is problem very apparent in Eric Whitacre, yes they both have style, but where is the substance?

With the exception of the Icelandic works, this concert was a bit depressing. Normally I am not too negative about concerts I don't like, I know I am picky with an obsessive eye for detail. But this concert was a musical collaboration between two nations, a wonderful gesture of solidarity between them both. Personally these kinds of events are a great place for contemporary music and it starts a dialogue between nations with living people working together. A beautiful thing indeed. But my final impression at the end was, the concert was only really put together for the composer's own need to sell himself. It is a shameful path and I hope Gelgotas finds some substance.  

Lithuanian Academy of Music and Theatre performing Juzeliunas

Last night, in the Lithuanian Academy of Music and Theatre where I study, the academy orchestra gave a concert dedicated the Carl Nielsen's 150th Birthday. For those who don't know, Carl Nielsen is Denmark's national composer and wrote many wonderful works including fantastic symphonies and some stunning concerti. But because this blog is dedicated to the Baltic and not Northern Europe, I will spend this post talking about the other half of the concert.

Alongside the two works of Nielsen (Symphony No.2 and Romance), the academy orchestra performed a relatively early work by the Lithuanian giant, Julius Juzeliunas. In a previous post I discussed his Songs of the Plains (Lygumu Giesmes). The early work is Juzeliunas's symphonic suite 'African Sketches'. The work is a five movement beast for orchestra and incorporates ideas like melodies, folklore, as well as rhythmic and harmonic content from the continent. 

The five movements are drastically different from the last, the first Eisena (procession). And like the title suggests, it starts from a quiet pulsating from the percussion and different instruments are slowly introduced building to a wonderfully energetic climax.

The second movement Irkluotoju daina (rower's song) is a very peaceful movement, with rippling orchestration in the strings and percussion. The alto saxophone sings the quoted song and results in quite an hypnotic moment.

The next movement Mergaiciu sokis (dance of the maidens) is an extremely cheeky and bouncy movement, with ideas flying around and is quite a bombastic moment. The energy never seems to stop in the movement, and it is just thrilling. 

Azandu vaizdelis (Azandu picture) is another quite still movement. But it is still filled with a dramatic pull and inner turmoil. The pulsating of the high strings stops the movement being completely peaceful and just focuses you in further. The flowing lines and rich timbral palette is very evocative. The final climax of the movement is just powerful and moving.

The finale Svente (feast) in short is hysterical! The chaotic bouncing and nonstop energy does conjure up images of a wonderfully riotous occasion. The screaming horns and brutal banging of strings and percussion is a lot of fun and a glorious way to end a large piece.

The performance of the piece by the academy orchestra was very strong, Martynas Staskus (conductor) really brought out the strengths in the orchestra. I was particularly impressed by the brass (admittedly I wanted them to push a little more to really unleash chaos). The strings were beautiful and really mastered their colours. At times the percussion and woodwind had some weaker moments, but they did make up for it in sheer energy and drama.

For those who were unable to see the performance in Vilnius, below is two videos from Youtube which features all five movements. Until next time!

Juzeliuans African Sketches I-II

Juzeliunas African Sketches III-V