Sonnet VI for clarinet, violin and pianoforte (2008), 6‘

Antanas Taločka (clarinet), Aidas Strimaitis (violin), Rūta Mikelaitytė (piano)

CD  Sonnets and Dances – PI “New Music Communication Centre”, 2008

The three younger generation musicians and founders of the in 1995 established ensemble “Naujasis Vilniaus trio”  (En. “The New Trio of Vilnius”) are given credit for the emergence of this piece. The Sonnet VI is like a postcard of sounds and  stops, the unsent letters of the encrypted notes which unfold in suggestive moods and feels  like a coctail made of refreshing Mozart, romantic rubato and jazz music elements. The popularity of this composition led to the emergence of different arrangements of it (e.g., two clarinets and pianoforte; flute, alto and piano; violin, cello and piano; etc.).

Hi, Visby, Hi! for woodwind quintet and string quartet (2004), 5‘18

The ensemble “Luminaire”: Mindaugas Juozapavičius (flute), Donatas Pocius (oboe), Antanas Taločka (clarinet), Paulius Lukauskas (horn), Šarūnas Kačionas (bassoon) and the “Kaunas String Quartet” – Karolina Beinarytė (I violin), Dalia Terminaitė (II violin), Dovilė Sauspreikšaitytė (alto), Saulius Bartulis (cello)

CD Between Sound and Silence - IŠ ARTI, 2011, PI “IŠ ARTI“ -  003

Approximately a month-long creative stay at the Visby International Centre for Composers, in Gotland island, was a productive time for creation work which resulted in the appearance of several new works. These are the following: Fading Dance  for a big wind ensemble that was performed by “Orkest de Volharding” (Netherlands) in the festival “Gaida” 2003., Sonnet – I for four instruments – first fixed in the LRT Radio Fund records while in one year after the return from the creative residence, another piece as a glassy reminiscence, a playful and motoric Hi, Visby, Hi! – the second “hi” opus was born (the first one Hi, Haydn! was composed to be presented in the  “Ziel 1=Kunst = Ziel 1” seminar in Austria). The term jugendstil used at the end of the  XIXth century to define the art of the Austrian – German architecture could be applied to describe the composition best. Rejecting the typical to it decorations or Japanese inspirations, this modern style was mingled with a dose of optimism and consequently adapted to music. Later on this composition found its use in the little opera – ballet The Wedding of Spider overture. 

White Impression for violin and choir (2002), text by Z. Bružaitė 3‘15

Vilnius Municipality choir “Jauna Muzika” (artistic director and conductor Vaclovas Augustinas), Ilona Klusaitė (violin)
International contemporary music festival “Iš arti” , 2004  (live recording)
The two pieces White Impression and Rosy Expression forming an allegorical diptych were commissioned by the choir conductor, prof. Albinas Petrauskas. The composition White Impression stands out for its unconventional to the choir repertoire accompaniment performed by violin which seems to frequently “dive out” of its support function to the first plan. The text of the work pours the abstract, laconic but associative flow, which is paralleled with more tangible contours of the choir voices’ melodies and harmonic consonances.

 

          
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