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: 

Druskomanija 2016: Day 2

Another day means another concert, thankfully last night was only one so I wasn't giving myself repetitive strain through continued manic scribblings in my note book. Last night was a return to the wonderful space that is the Gothic Hall of the Vilnius Art Academy. The piano trio Thirty Fingers performed six works (one cheeky surprise) showcasing young composers from across the EU.

The first work started, notes hang in the air like drifting clouds. Restrained harmonies slowly grew and despite the austerity always sounded bright. The mood evoked something akin to Bent Sorensen, with its 'simplistic' harmony but made more resplendent through rich colours. Luis A. Tenaglia's Transfiguracion was quite a strong work indeed. A rather beautiful piece in places. However I did ponder how much greater would the magic be if it was significantly slower. It would have been like lying on the grass watching the clouds drift by without a care in the world. 

The magic bubble was burst by Whist by Aleksandra Zviozdkina. The opening chords were sickly sweet and felt like any pop ballad in the charts now. Honest to God I thought Adele was going to sing at any moment. I am a big fan of simplicity, but for it to function and strike people significantly it needs a stronger purpose instead of 'pretty' harmonies. The voice leading the violin and cello melodies, were a bit clumsy in places and the suddenly appearing 'dissonant' chords felt out of place. I personally would have loved for the piece to be significantly more austere like water frozen or allowing itself to be lead to new harmonic places.

Following this came a work by Tze Yeung Ho. shulammite (a) was an extremely colourful work, which showed a lot of imagination and understanding of the dynamics of a trio setting. The manic flourishes and the sudden breaks were very impressive at the start, but the harmonic focus began to unwind, meaning in places the work had as much focus as an ADHD child in a petting zoo. This being said the piece had a wonderful sense of drama and communication. With greater harmonic focus Tze Yeung Ho will stun audiences.

After this and a bit of shuffling came Water for piano trio and electronics by Tine Surel Lange. The electronics instantly made their presence and purpose known, giving the work a dynamic similar to Berlioz's Harold in Italy with the small heroes fighting off the greater force throughout their tale. The trio element on the whole was strong, showing a lot of creativity and personal character. Some moments were extremely beautiful and the lulling water was riveting. The only issue I had was the block composition of the structure let the piece down as, excuse the pun, the sense of flow was ruined by it. The elements themselves were beautiful, but their context wasn't always very strong. But I am curious to see how the composer develops, there is a spark.

The penultimate piece, LaLaMiRe, by Vilte Zakeviciute was curious. She surprised me in the piece. Starting off with a melancholy akin to Shostakovich, but suddenly building into a piece with the same novel and intriguing interactions you find in the works of Pelle Gudmundsen-Holmgren. A very strong work, Vilte is has come on a lot since hearing her little flute piece a few months ago. What I would love to see is her now jumping into something harmonically more complex. I imagine with a strong prowess of serialism Vilte could produce mindblowing works of immense grandeur and spectacle. She is definitely gathering steam!

The final piece was a surprise, and annoyingly that meant I didn't manage to get the name of the piece. This surprise work by Dominykas Digimas was for trio and video. Sharp musical gestures swooped in. The accompanying projection was particularly surreal as the music was so dynamic and the imagery was so 'normal'. The work was full of colour and evolving timbres, something Dominykas has proven his prowess before, but I fear in this work the harmonic language was a tad stale. The only element driving the progress of the work was the visuals and the musical colours, if the harmony contributed too it would have been an almost immaculate work. The piece was definitely a noble attempt at producing something new, but the lack of independant musical structure and stagnant harmonies let the work down. Dominykas has great potential indeed, if he address these issues he will be a force indeed.


Another day done, now to gather myself before tonight's two concerts including a fun shindig with mini-moogs!

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!

Young composers in the Gothic Hall.

Last night I was involved in a concert of young composers from various walks of life recent graduates, masters, and bachelors students. The performance took place in the magical Gothic Hall in the Vilnius Art Academy. The concert was overflowing with people, to the point that often I was just outside listening to the pieces being performed.

The first piece was by Jurgis Jarasius. His work Acchor'deo was a reconstruction of a work by the same name. The original was composed for strings and electronics, the version we heard last night was purely electronic. The work focused on a sustained sounds which slowly circled itself. The work was nice and still and quite colourful. Nothing ground breaking but just a nice piece. My only query is why the string parts were only recreated with virtual instruments? With the infinite opportunities with electronics could the string lines be redo with whole new timbres we have never heard before? Just a question really. I'll be curious to compare to the original when I finally get a chance to listen to Zoom in 11. I recommend you have a look at Jurgis's Soundcloud to make your own discoveries about him.

Following this was Andrius Siurys. A composer who I have been able to watch grow and change for the past 2 years. The work last night Atspirties Taskas was for violin and piano, and ultimately a wonderful leap in Siurys's craft. The work was full of energy and violence, and Diemante Merkeviciute handled it all with power and grace. The focus on motivic development showed a greater skill in his construction, but I feel the harmonic potential was not quite tapped into fully. The violent chords were strong, but the still moments felt disconnected, the previous harmonies if used skillfully could have been the way to hold it all together. If he addresses harmony a bit more, mostly finding purpose in the choice of harmony, Andrius has a growing potential to become very potent. For those curious, check other recordings of him here on Soundcloud.

The third piece in the concert I had the pleasure of knowing extremely well because I was conducting it. Which adds the most curious twist I have had to deal with when writing any sort of review. Karolina Kapustaite's work Matrikacakra, draws on the imagery and philosophical stance of Chakras; namely certain areas of the body have a specific form of resonance and energy which is linked to all other sorts of resonances and energies throughout the universe. In Tibetan and Tantric Buddhism this is quite a fascinating topic, but many new age people have misappropriated it sadly. Anyways back to the piece. Matrikacakra was composed for a mixed quintet of flute, clarinet, violin, viola, and cello. In its seven minutes the work shimmers and glistens. The sense of timing is wonderful, never rushed, new sounds drift in adding or taking away from the present texture. The piece is extremely strong, Karolina Kapustaite has a bright future ahead of her if she keeps producing wonderful works of this strength. The players in the ensemble were extremely solid and really brought the piece to life. And noone wants to hear about my conducting. I strongly recommend everyone to listen to Karolina's other works here.

The penultimate piece before the break was a string quartet by Marius Civilis. The work 

-mona- was very straight forward, the quartet moved as one, very close to one another, but not quite together in a collection of quite dissonant waves. The shape of the work was fine, if a bit laboured due to its predictability. The harmonic language was dull and tedious. The circling lines were a bit like Bartok's Music for String Percussion and Celeste and if my ear is correct its climax was almost identical. Sounding like Bartok can be great, but sadly in this piece it sounded more like Bartok was hammered on absinthe. The microtonal harmonies were unnecessary, or at least made little to no sense in the work. Its almost like he wanted to make sure he sounded 'modern'. Now don't get me wrong, works that treat the string quartet as one mass moving together can be extremely powerful look at Scelsi and Radulescu's fourth quartet, as well as sans pause by Rytis Mazulis. But they succeeded due to skillful craft. Once you take away the fact that the piece wasn't original what does it have left to stand on? I sadly couldn't find Marius Civilis on soundcloud, I would have given a link so you can make up your own mind on it all.

The final piece in the first half was a piano work by Kristupas Bubnelis called Plaktukai be fortepijono. The work was full of character and charm, the flowing lines of the piano were a lovely break from the previous piece. The piece at times I found mildly reminiscent of Georgs Pelecis's Concerto Bianco. The use of Balakauskas's trademark Dodekatonality was very heavy, even at times I found it to be a tad pastiche when suddenly from the free flowing lines to 'jazzy' chords. For such a young student is craft is very strong, I feel he just needs to step out into something more Bubnelis and less Balakauskas. I think if he came across composers like Peter Schat, Per Norgard, or Hans Abrahamsen would help broaden him and push into something very strong. Have a listen to his works here.

After the break was the work Bizonai by Monika Sokaite. The work opened with a simple circling of harmonies in the piano which served as a backdrop to the vocal melody. The team of Vaidrius Smilinskas and Paulius Pancekauskas was beyond remarkable. A beautiful voice like melted butter in the fluffiest baked potato, and a piano support which was strong and supportive allowing the singer to be brilliant. I was in awe. But the awe kind of ended with the quality of the performance, because the work did nothing and said nothing. Ultimately it was a blank sheet of paper which allowed the performers to craft it into something worth listening to. This song by no means compares to works like Erlkonig or  Die Doppelganger. Simplicity can be really profound just look at Howard Skempton or Arvo Part. But simplicity needs purpose and intent otherwise it is just naive or bland. This being said do have a listen to her music on Soundcloud, I am by no mean gospel.

Following this came a real highlight for me. Pradzioje Taskas - Pabaigoje Pradzia by Julis Aglinskas blew me away. The opening chord caught me like a rabbit in headlights. The stillness was beautiful and never let me go. It is obvious composers like Feldman are an influence, but it was by no means a pale imitation of him. The static chords and the chill of the harmonics on the piano just mesmerised. I really hope I get to hear this piece again! I definitely recommend you all see his recordings on Soundcloud.

The penultimate work of the whole concert was a charismatic little flute miniature by Vilte Zakeviciute. The piece Siaures vejo gusis was well crafted and full of character. A young student can take pride in the piece. I will be curious to see how she develops as a composer, there is something there.

The final piece, Isochronous by Dominykas Digimas was strong. The space was reminiscent of Georg Fredrich Haas's In Vain, waiting in the dark before things moved. The visual display was very hypnotic and Dominykas really made sure his music fitted the character of the visual elements. The sparse electronics were hypnotic and the saxophones were magical and full of evocative colours. The only issue I found was piece depended too much on the visual element. If we take opera, Mozart et al were lead by the visual and dramatic elements but the works are still well crafted. Cross-collaborations cannot transcend music, so the music needs to be as skillfully crafted as a 'traditional' concert piece. This being said, with a strong craft and the same kind of nuance and subtlety of composers like Eliane Radigue, Dominykas could be extremely profound. He just needs that extra push. I recommend people check him out on Soundcloud.

Until next time!