|
|
 |
|
 |
||
|
|
 |
|
 |
|
Contents:
DDD 67:12 Recorded 28. -- 30.06.2001, SWR, Hans-Rosbaud-Studio Baden-Baden
This CD features five well-known Lithuanian composers whose works are representative of the new music of their country. The works were composed between 1991 and 2001, a time of new beginnings and an upbeat spirit in Europe. In the last few years the Baltic States have taken on a much more central role in western consciousness, due especially to their spectacular reconstruction, fueled by their regained spirit of liberty. This points back to Central European thinking, the vision of Europe, in which the concept of European culture is visibly present and with which the word "VĖL" = "again" has become the motto of this CD. Lithuania, with its capital city of Vilnius has a diverse and tragic history. The Lithuanian language is the oldest Indo European language and is still delivered in pure Sanskrit. It was the peasant language of the Samogitans/Schamaitens, who were therefore also the guardians of Lithuanian folk art, which contains a treasure trove of fairy tales, myths, folk songs and dances. The dance forms are ancient, and they emit a continuity of magic meditative material -- magic in the form of honoring nature, a sympathetic coherence between nature and the cosmos. Special mention should be made of the "Surtartinės" which distinguish themselves through sharp second chords and syncopated rhythm, and contain polyphonic forms and a large number of sonorous words (D. Katkus). The listener will be aware of the originality and rhythm of these forms again in the following works, which present a newly formed content as metamorphosis of a great base sound. Music becomes the mediator between the cultures of the two Europes, which developed in different ways from their common, intellectual and spiritual roots. Individualism and independence are the main characteristics of the new music of Lithuania. We encounter extraordinary vitality, energy and intellect, but also a particular sensitivity for the intermediate tones, an in depth consciousness of the march of time and the rapid change to which our world is exposed. About the Works: "… During the isolation brought about by the Soviet Occupation the Lithuanian composers searched, through their music, to discover a path to the showplaces of international culture… With a sharp eye they observed what was going on in their time and were able to utilize their national intellectual origins and values. Some of the most outstanding composers are Osvaldas Balakauskas (*1937) and Bronius Kutavičius (*1932). They mark two milestones in the development of Lithuanian modern music, while at the same time they represent two polarities of the new artistic mentality." (Jūrate Landsbergytė) Bronius Kutavičius (*1932) studied at the Lithuanian Music Academy in Antanas Račiūnas. In the 80s he had considerable influence on the intellectuals of his country with his cycle of 4 oratorios: "Pantheistic Oratorio" (1970), "The Last Customs of the Heathen" (1978), "From the Stone of the Jatwinger" (1983), and "The Tree of the World" (1986). These works became a symbol of national rebirth and non-conformist music within the Soviet system. In 1995 the composer received the national prize. His music is known far beyond the borders of Lithuania and resounds at many festivals. The compositions of B. Kutavičius are characterized by meditative minimalism and static drama, which receives its intellectual energy…from the many symbols and an indwelling synthesis of the Lithuanian culture and its art." (J. Landsbergytė) "Aštuonios Stasio miniatiūros" for flute, violin and viola, 2000 based on texts by J. Landsbergytė: theme and programmatic inspiration of this work, especially created for this CD, depict portrayals of the Lithuanian artist Stasys Eidrigevičius. The contents of which are made audible through instrumental techniques. 1."Gelsvi karioliai" (The Yellow Beads), a structurally reproduced necklace. 2."Graudus" (Sorrow), openly depicted sadness, engagingly simple, Lithuanian. 3."Riksmas" (Cry), chromatic-toccata like in its intensity and restlessness. 4."Klounas" (Clown), characteristic and philosophical portrayal of the clown. 5."Trikampis" (The Triangle), canon and the ostinate circle of dramaturgical form so typical of Kutavičius. 6."Paukštis už stiklo" (The Bird behind the Pane), from heavy emotion to improvisory escape into aleatoric freedom. 7."Kartoninis žmogus (The Cardboard Man), symbolic signal of emptiness. 8. "Amžinoji ramybė" (The eternal Peace), revival of themes about the harmony of the universe. Significant Works: Cycles of 4 oratorios and 4 chamber symphonies. Choral and chamber music with various instrumentations, the opera "Lokys" (2000) based on P. Merimée. Onutė Narbutaitė (*1956) studied composition at the Lithuanian Music Academy with Julius Juzeliūnas and has lived in Vilnius as a freelance composer since 1982. In 1997 she received the National Prize for the oratorio "Centones meae urbi" (Rag Rug of my City). O. Narbutaitė (*1956) who also paints and writes poetry is a universal artist of great differentiation and subtlety of expression, which she achieves by reducing the essential and by precise formulation. Stylistic: "Transparency, concentration of thought, a literary note which is intertwined with diverse arts (poetry, painting, sculpture, history, documentation)… Transience is one of the most important themes. Influenced by minimalism, the composer adopted only its essence, a meditative, evolutionary method of development" (J. Landsbergytė). "Winter Serenade" for flute, violin and viola, 1997 has been composed of motives from Franz Schubert's song "Gute Nacht" from the "Winterreise", never losing sight of Schubert's musical gesture and the basic mood. Music composed of "fragmentary pieces, broken lines, leaves swirled up by the wind, and met by other dying leaves swirling toward them…an allusion to Schubert's melody with an ever different perspective following the laws of the ritornello or the refrain" (J. Landsbergytė). "Mozart Summer" for flute, violin, viola and piano (cembalo), 1991 was written on the occasion of the 200th anniversary of the death of W.A. Mozart. Here the composer recomposes, that is, she takes the actually newly arranged, smallest fragments of parts of texts from original compositions of Mozart, which are hardly identifiable in their new version, but have retained the quintessence of Mozart's sound-character. They are fragments resembling crystallizations, solitary (pointillist) and yet firmly bound to the whole. It is a negative picture in the sense that the unheard is emphasized, a listening to what is not articulated. O. Narbutaitė shows what seems to be the past in its actuality, by confronting it with the problematic of our time. Significant Works: Compositions for string orchestra, choir, vocal with instrumental accompaniment, chamber music with various instrumentations, 2 string quartets, the oratorio "Centones meae urbi", Melody in the Oil Garden for trumpet and 2 string quartets 2000, 2nd Symphony For Large Orchestra 2001. Remigijus Merkelys (*1964) studied conducting and composition at the Lithuanian Music Academy (with Julius Juzeliūnas). He took part (among other things) in George Crumb's composition courses in Salzburg and is the founder of the chamber choir "Jauna muzika" (Young Music), which under his directorship has won prizes at numerous festivals and achieved international fame. He also established the festival "Jauna muzika" (1992), and since 1993 has become leader of the classical Lithuanian radio station, as well as director of the festival "Gaida" since 1998. In 2000 he received first prize in the "MK Čiurlionis Composers' Competition". "R. Merkelys bases his work on Modi Osvaldas Balakauskas conception of tone-numbers…the aesthetics of structuralism. The improvisory and anti-academic is emphasized. Basic is the desire to renew modern choir music, as well as to discover other dimensions for the sound of the voice." (J. Landsbergytė). R. Merkelys: "It is my desire to discover a perfect relationship between tone and silence, not only in the expansion of the work, but also in the activity and passivity of the tone itself." "FlaVio" for flute, violin and viola, 2001 is another work commissioned for this CD. "FlaVio" = abbreviation for fla-ute/ vio-lin/ vio-la. "It is concerned with a "solidly cemented" construction - "fatalistic structuralism", i.e. the structural principle is exaggerated to such a degree that it reveals its new sense, a no longer assessable inner energy of the times" (J. Landsbergytė). The composition is based on primary numbers, which determine the height of tone and the rhythmic parameter. One motif becomes evident as the piece runs its course. The repetition of this motif, through ever increasing tension, propels the music toward its point of culmination. A sonorous finale follows as a sudden onset of tranquility (Tranquillo) overshadows the sound of the strings. Significant Works: Chamber music with various instrumentations, choir music, choir with symphony orchestra, etc. "Room Study" for choir, strings, percussion, saxophone and sound track (1998). Osvaldas Balakauskas (*1937) studied composition at the Kiev Conservatory with Boris Liatoschinski, was ambassador to France, Spain, Portugal and Paris from 1929-1994, and is presently director of the chair for composition at the Lithuanian Music Academy. He received the National Prize in 1996. "Osvaldas Balakauskas represents the idea of rational structuralism and pure music. He developed new techniques for composition, based on the serialism principles of the new Vienna school and dispensed with syncretism, the literary and polystylistics" (J. Landsbergytė). "Rex Re" for flute, violin, viola and piano, 2000 was composed for this CD as a commissioned work on a friendship basis (commissioned by Audronė Pšibilskienė). The title of the piece relates to the tone D (Re) as center and base, through which rhythmic, pulsing energy develops and builds up in a steady exchange of tension and release. Significant criteria are a powerful impetus: an ever returning rhythmic motif, ongoing motoric impulses and jazz elements (swing), the clarity of an arrangement of multiple parts, which, however, in the sense of perpetual motion, could, after its closing, flow once more into its beginning. Significant works: Orchestra music, including 2 symphonies, instrumental concerts, the ballet "Makbetas" (Macbeth), over 60 chamber music pieces which include "Chopin-Hauer" for vocal instrumental ensemble and sound track (Text: A. Schopenhauer). Mindaugas Urbaitis (*1952) studied composition with Julius Juzeliūnas from the Lithuanian Music Academy, where he is an instructor at present. From 1991-94 he was director of the society of composers, from 1991-95 the organizer of the Baltic contemporary music festival "Gaida." His works are performed internationally. The composer also leads international seminars and workshops about new music. New for Lithuania in the 70s and 80s were the radical, minimalist aesthetics of the early works of M. Urbaitis. Closely adhering to American minimalism, Urbaitis's musical language is defined by its clarity, discipline, repetitive development, and lack of contrast. A meditative character develops through limited melodic lines, a new simplicity, which is available to every listener, not just the musical expert. Urbaitis re-composes from traditional music, that is, "he takes a transformation of already composed works to new heights of sound, and follows their harmonies and inversions" (J. Landsbergytė). "The Case of Wagner" for flute, violin and viola, 1999 was a commissioned work for the third "Thomas Mann Festival" in Nida. Named after Nietzsche's work, it utilizes Wagner's most important leitmotif, the introductory chords from the overture to "Tristan and Isolde." "This leitmotif is complemented through further Wagnerian additions, the siren chord from "Tannhäuser", thus developing the harmonic Wagnerian sound space, which is interpreted by the composer as the meeting of the three great thinkers, Nietzsche, Wagner and Thomas Mann" (J. Landsbergytė). In this composition there is a definite feeling of time, which presumes neither memory nor anticipation. It is music of the present time--pure sound media Significant works: Compositions for symphony orchestra, chamber music with various instrumentations, also with vocal, i.e. "Liebeslied und Trennung" for soprano voice and a retarding system (1979) or "Resignatio" for soprano and string quartet (Text C. Milosz). Ute Stoecklin/ Jūratė Landsbergytė For this documentation: The works of Bronius Kutavičius, Osvaldas Balakauskas and Remigijus Merkelys are premičre performances, and composed especially for this CD. Page revised 06.08.04 | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
