Druskomanija '16 - Day One!

And so it begins, Druskomanija 2016, before tonight I would never have thought a skate park could be a great acoustic for an orchestral concert. The annual festival showcases young composers from across the globe, through a variety of concerts for a wide variety of ensembles and situations.

The opening concert featured four masters students from the Lithuanian Academy of Music, and was performed by a student orchestra under the baton of Ricardas Sumila. The four works were quite obviously different and for me, despite not being completely being blown away by the works two works showed great promise.

The first piece Nox by Ilja Pikalovas was quite straight forward in its approach. It started with a harmonic series, which is in turn warped by an inharmonic series, and finally resolving itself. As an fanatical fan of spectral music, I was quite pleased to see Ilja dabbling in the form, my main issue however was the simple fact it was very naive spectralism. This kind of approach has been done to death by the likes Tristan Murail, so young composers dabbling in spectralism have to find their own path, lest they suffer a fate of being stuck in Murail's shadow. In my opinion if Ilja considered viewing the harmonic series as an infinite line maybe then something truly fascinating will be found. This all being said, the piece was fine, held itself structurally and the orchestration was sufficient. Definitely want to hear more from this composer.

The second piece Thangtong Gyalpo by Gaile Griciute, initially sent alarm bells up my spine. Reading a composer has drawn inspiration from a 16th Century architect from Bhutan, or something of that ilk, means one of two things; either a truly astonishing work which has escaped the sphere of Western logic, or a work that is either hiding behind philosophy to justify their 'musiciality'. The work was extremely sonoristic, with a intense dependence on the colour of sounds more than the harmonic quality. The piece had brief moments of beauty but they all soon faded and never returned. The aleatoricism was ultimately quite weak, because the sensation of harmonic field was never addressed. On the face of it, it showed a lot of sounds, and everything was heard. But what was it trying to say? That shall remain a mystery.

Vilniaus bokstai by Raimonda Ziukaite, was the third work in the programme. Instantly the piece grabbed my attention. The violent driving lines in the piano accompanied by the dark murmurs of the brass was intensive. The piano writing was somewhat akin to Sur Incises by Boulez. The gradual growth of the work was well handled and the sudden moment of calm was glorious. The chorale-like figure which unfolded was beautiful at first, but began to become annoying through over repetition. The composer's use of colour and harmony was really quite strong and shows a growing maturity, there is a lot of promise in her. I wasn't completely sold by the piece as a whole, but this being said, I was glad to see the composer daring to say something through her work. She grabbed you, lead you on a journey and showed what she has to offer in the piece. If she continues to push her craft and knowledge she'll find something truly profound.

The phrase saving the best till last sadly did not apply here. Ieva Marija Baranauskaite's Bazm-e dastango tried to say too much, or just didn't know what on earth it wanted to say. The first segment started with flourishes and sputters, which became extremely predictable very quickly. Over time, this interaction evolved into something extremely tasteless. If she was aim for scherzo she drove past that by a few hundred miles. The following slow section had a bit more grace with its lulling bassoon melody and rolling accompaniment. The 'arabic' influence of the piece became a bit too glaringly obvious, with an almost racist oboe line. The follow segment was loud, with strong dissonances and orchestral stabs. The sense of drama was lost as the journey had been so fragmented already and the loud 'dramatic' stabs were just loud. The final segment started with so much promise. The quasi-fugal material showed a composer with real class and a refined sense of taste. The modest of the restrained fugue shows a composer who has a really profound edge. But then she threw it all away. The 'development' of the section was poorly coordinated and destroyed the only positive part of the work. The final few bars were just infuriating, it was akin to being pushed through a meat grinder, especially after what came before. If she can dig out the few gems in this, she has a chance to become something far more brilliant than this.

The concert ultimately wasn't to my taste, but two composers show some real promise. This being said, the standard of the orchestra and the control of Ricardas Sumila was second to none. If only the orchestra had something to really show off their klout.


After an hour's break in the sun with a wonderful cup of coffee and a few matches of fussball. Came the Katarsis 4 saxophone quartet. Their concert had five Lithuanian's from all walks of life. The first work Truktir by Vilte Zakeviciute started with extremely close harmonies which slowly unwound into a chorale filled with profound melancholy. The work was modest and elegantly crafted. For such a young composer, this work was extremely well done, and begins to prove my statement about her in the VDA concert a few months back. There is something about this composer, I will keep my eyes and ears on her.

Pick up by Justina Siksnelyte began with quite a driving and playful interaction. The rhythmic groove of the material was intriguing at first, but the static nature of the pairs meant the interactions felt tired after a while. Over time this faded away and was replaced by rustlings and murmurings from the saxophones, a grand harmonic on the baritone sax resounded and disappeared. The climax of the work was intensive, but the recurring material in the top saxophones took the edge off an otherwise mind blowing moment. The work as a whole was an intriguing exploration of sound, with a bit more time, Justina could really surprise us all.

It is not often for me to be so struck by a piece. I am such a cynic and smart arse that I can be a bit of a stick in a mud. But when a work hits me, it hits me hard. Jura Elena Sedyte's Awakening did just that. The opening screams from the reeds gripped me, this lead to a slow building and evolution of sound. The colours continued evolving and grew into giant monsters. The sensation of this work was akin to watch footage of a wolf pup starting life with little grunts and snorts, before growing up bit by bit then producing a howl which sends shivers down the spine. This piece was like watching a saxophone growing up in the wild. The craftsmanship and sheer intense focus of the work was extremely mature and profound. Jura Elena Sedyte shows acres of promise and without any shadow of a doubt, was the strongest composer I heard all night.

Following this came Juta Pranulyte's saxophone quartet no. 1. This composer I am quite familiar with after reviewing the concert of Melos Choir, I knew she was capable of really great things. Like last time, the work grew from a small point. The accompanying visuals by Vytautas Dagilis were extremely hypnotic and mesmerising. The work grew and evolved on itself, like gel in a lava lamp. However I had a major concern with the piece, as throughout it was too close to Gyorgy Ligeti. The sensation of evolution and the locations it evolved too were almost identical. It was an extreme shame, Juta Pranulyte is capable of much better works than this.

The final work If you didn't see the six-legged dog was a really enjoyable work by Monika Zenkeviciute. The work was playful and jazzy, and the quartet seemed to be really in their element playing it. Admittedly, it wasn't the strongest or most profound piece, but it was fun, sweet and honest. A lovely finale for a programme.

The quartet's surprise encore was also quite beautiful, but for me a bit too sickly sweet. Saxophone quartets have a hard time with repertoire as there is so much of it which is almost identical. But this being said, it was a really nice way to round off a truly solid programme. Katarsis4 are a very strong group and a part of me really wants to see them tackle something a bit more hardcore, like Xenakis's quartets or even something like Radulescu's Astray for two saxophones and pianos. I imagine they would really make heads explode then.


A solid first day of Druskomanija 2016 bring on day 2!

Melos kamerinis moteru choras: Debut and concert of new religious works

Last night in a whimsically chilly church. Melos kamerinis moteru choras gave their official Lithuanian debut, performing works of living composers, focusing mostly on text in relation to Palm Sunday. The twelve piece choir, accompanied by solo instruments in certain pieces gave, in short, an extremely strong first step into the wild.

The concert started with a work by the Lithuanian composer Vytautas Miskinis. The work Praeludium for voices and piano rolled along gently, with subtle swaying of harmonic development which underpinned a rich chorale. The circling motifs were extremely confident and the choir gave a wonderfully well blended sound throughout. The confidence in the false relations was strong, always giving the impression the choir were in supreme control.

The first of many premieres in the concert was the young Matas Drukteinis. His setting of the sanctus was quite commanding and striking, but also very modest. The nuanced repetitions of sanctus made the work sound almost ritualistic. These punchy gestures were set against by very still rich chords in the whole choir. The harmonic language was really moving but I felt the counterpoint fell apart in the still moments. The use of cello was very subtle and gave the whole piece a very strong base to bounce off from. The work in general was good, but I am curious to hear something more extreme from Matas, I have the impression modest music is not his own cup of tea and just wants to be let loose. I recommend you check out more of his work on Soundcloud.

The next work was by Monika Sokaite, for those who have read previous posts, know I wasn't sold on her recent piece for voice and piano. This being said I didn't let that previous thought cloud my listening of this new work by her. Lavabo Me (from Psalm 25) was described in her programme notes as a polyphonic work using techniques associated with the prolation canon. I always smile a bit when composers resort to older forms like prolation canon or organum, because there is so much joy and wonder in them. The piece started with an almost processional line from the sopranos flowing around beautifully and supported by a slow moving harmonic base. The harmony and voicing was strong and is was a good piece demonstrating choral music is a personal forte. I found after a while the drifting melodic line got a bit lost and so sense of direction disappeared and ultimately felt lackluster. A think with a bit more study of Ockeghem and Mazulis she has the potential of producing some really nice music inspired by ancient forms and ideas. I said this last time I reviewed her, I'll say it again; listen to her works here on Soundcloud.

After some shuffling from the choir came the music of the Polish composer Monika Szpyrka. adHuc was a piece that focused on very minute details and raw elements of the voice. Starting with growing rustlings and stutters which are set against varied breathing. The contrast and orchestration of the gestures was contrapuntally and creatively very strong. The evolution of timbre was handled in an extremely classy nature, giving the sensation the Monika is her element and her moment. The piece, especially compared to the predeceasing work was definitely like going from chalk to cheese. adHuc was always moving, always evolving and gripping the listener. It was by far one of the strongest works of the night and the most sophisticated works for unaccompanied choir I have heard in a while. I am definitely hunting to hear more from this gem! When you listen to her music here on Soundcloud, I hope you will agree with me. 

After this work came Mantvydas Pranulis's In Finem for trumpet and choir. The solitary opening from the trumpet resounded in the church beautiful and definitely had a similarly spiritual sensation. The choir entered and the interaction with them and the trumpet (played by the composer) was often very strong and well nuanced. Harmonically it had a similar sensation to Holst which was an odd surprise to hear from a Lithuania, but still a pleasant one all the same. The work in general was very strong, but towards the end the trumpet gestures became more akin to the jazzy characters from Aristocats than one of the seven trumpets at the end of time. Have a listen to his work here.

Next came the Aberdeenshire based Yank Sarah Rimkus, a student of Paul Mealor and the descendant of a Lithuanian. Her piece O Vos Omnes was very modest and still. Focusing heavily on open fifths and other wide chords. The stillness is treated very well, at times I felt the sopranos were a bit underwhelming in this. The piece did feel heavily influenced by her tutor but thankfully the influence wasn't so dominating that it felt like her music was mere pastiche. I also found many similarities between the work and the middle sections of John Taverner's Ikon of Light where notes just hang in space resonating freely. A nice piece, I'll be intrigued to see how she develops. See her music here on Soundcloud.

The penultimate work came from the Welsh composer Nathan James Dearden. The piece O Crux Ave was set for double choir, with members stood opposite each other. The still modest opening hit me instantly, a calmly brilliant gesture which was the seed of growth in the piece. The counterpoint between each group and across groups was extremely well handled and always felt purposeful and necessary. The Qui passus es pro nobis... was strong and pulsing like a mantra that resonated beautifully in the church. The whole piece struck me to the core and instantly I can tell this one of Nathan's strongest pieces to date. The work was bold and modest, well crafted and elegant, and ultimately sincere. If he carries on like this Wales has a bright future with Nathan as a champion of his generation. Enjoy his works here on Soundcloud.

The finale was the perfect finale piece. Juta Pranulyte, the Glasgow based Lithuanian, presented one of the greatest pieces of the night. Christe Qui Lux for alto saxophone and choir was a beautiful meditation which at times had the same striking mesmerisation as Feldman's Rothko Chapel and Toivo Tulev's Songs. Notes hung in space and disappeared into the space like clouds forming and unforming or rain droplets falling into a river. The work organically and seamlessly grew from the saxophone, at one point it strayed dangerous close to Lux Aeterna by Ligeti, but managed to break away before it got cornered. As the work progressed, the sound grew and the church itself felt like it was resonating with the choir in one harmonious gesture. Christe Qui Lux is definitely the strongest piece I have heard from the composer, may the good work continue. Listen for yourself on Soundcloud.

Melos Choir, under the combined direction of Jolita Vaitkeviciene and Dalia Krapavickaite, achieved a strong and very promising debut. As a whole, for me the strength of the choir hung in the lowest altos who were a strong foundation for the choir to build upon. The middle voices were well blended and well toned, but at times I felt their dynamic was weaker than it should be; the most important music is often in the middle, not the top or bottom. The top sopranos on the whole were strong, but I felt at times that there were blockages stopping the higher registers just pinging round the church like a ray of light. The stamina of the choir needs to be addressed, but to be honest the temperature in the church will have had considerable effect on it all. The two conductors were strong and focused. Jolita Vaitkeviciene was by far the superior conductor in my mind, but that is mostly due to age and experience, the subtle controlled gestures were always elegant and necessary. Dalia Krapavickaite has a bright future a conductor, but I am curious to see how she would interpret a classic piece.

The choir have to be commended on such a strong debut, especially as the debut was filled with world premieres. With hard work, dedication, and the same element of daring who knows they could challenge Jauna Muzika for superiority. 

Vykintas Balatakas: Saxordionphonics

This week's installment brings us back to Lithuania. One because it is not long till I move into my new flat in Vilnius, but also because I do really enjoy this particular piece.

Vykintas Baltakas (1972*) is a highly driven composer and conductor, and his work with the Gaida Festival and the Lithuanian Ensemble Network (Lieutvos Ansambliu Tinklas) have helped bring new life to Lithuanian music and the way it is performed and viewed worldwide. Currently residing in Belgium Vykintas Baltakas's music is captivating and energetic. To quote his own biography:
'Vykintas Baltakas is a musical Scheherazade. His music keeps pulling you in and referencing itself, sometimes branching off and reinventing itself, and sometimes returning to where it started. He weaves musical stories that are linked with a delicate interconnected web'

This constant reinvention combined with an angst with his musical surroundings in Vilnius, probably made his move to Germany in 1993 quite so important. Studying with Wolfgang Rihm will have been worlds away from Baltakas's native Lithuania. As you will see in future blogs, many prominent Lithuanian composers leading up to the 1989 revolution were keen on exploring Lithuanian culture; either through drawing on ancient folk songs, folk art, or stories. Whereas Germany had 40 years of revolutionary ideas that had been constantly evolving since the end of the second world war. This extreme divide in musical landscapes allowed Vykintas to flourish. 

Now onto my personal favourite by Baltakas. His playful Saxordionphonics for soprano saxophone, accordion, and orchestra is a single movement work which hints at being a concerto by the way the soloists interact with each other and with the orchestra, but always manage to dodge it in such a way that you are always second guessing what the piece is going to do.

The opening stabs never quite reiterate themselves when you expect, always just a little after or just before you truly anticipate it. The entrance of the accordion begins with ricochets between accordion and the orchestra. The soprano saxophone enters and suddenly the dynamic of the piece changes but the moment passes quite quickly and you find yourself in a constant to and fro between motifs you have heard before and new ones.

This keeps the work energetic and ultimately quite cute and playful. The soloists in the recording perform this beautifully and with such gusto that you get the feeling that the piece is such a standard piece of the repertory; a sensation that happens rarely with contemporary recordings.

The work is not the most remarkable or definitive piece by Baltakas, but it is extremely lovable and a great introduction to his music. People who have fallen in love with this I'd recommend checking out pieces like 'Co(ro)na' or 'Pasaka' both are stunning piece which I will be mentioning in future installments.


Information have been gathered from:
Baltakas's official website: http://www.baltakas.net/biography/