For this festival, the ensemble presents a programme of five brand-new works of contemporary music, all united by a focus on sound as an autonomous medium of aesthetic perception. Here, music is not subordinated to narrative or image – it becomes a generator of meaning in itself, shaping the listener’s experience not through representation but through direct acoustic phenomenology.
The festival theme – intermediality – is interpreted in this programme as an inner expansion of the sound medium, arising not through explicit interdisciplinary references but through the relation of sound, as a structure of experience, to space, the body, and the listener’s state of consciousness. Sound becomes not only a channel of transmission but an independent medium of transformation – a “medium” in its own right.
Concert Program
Jonas Jurkūnas
Evidentiality
(2025, premiere)
“Evidentiality” is based on the linguistic grammatical category of evidentiality, here transformed into the logic of sonic structure. The “testimonies” of direct experience confront the echoes of indirect articulations, while the electronic register of Robotic Folk creates a fluid zone between fact and interpretation.
Jonas Jurkūnas
Kristupas Bubnelis
For cello ensemble, modular synthesizers, and a four-speaker system.
On a hot July evening, I descend into one of Apulia’s caves, where in the shrine of dripping stalactites I hear only my own voice. It is a realm of death, of suspended time, where even the slightest careless touch may disrupt the timeless texture of the rock. I wish to create a situation in which sound changes slowly, like minerals – independently of my will, like structures shifting within the matrix of geological time. Clarice Lispector writes in “Água Viva”:
“I want to put into words, but without description, the existence of the cave that some time ago I painted – and I don’t know how. Only by repeating its sweet horror, cavern of terror and wonders, place of afflicted souls, winter and hell, unpredictable substratum of an evil that is inside an earth that is not fertile. I call the cave by its name, and it begins to live with its miasma. I then fear myself, who knows how to paint the horror, I, creature of echoing caverns that I am, and I suffocate because I am word and also its echo.”
(Clarice Lispector, Água Viva (1973). English translation by Stefan Tobler, 2012)
Kristupas Bubnelis
The composition created with the support of the Lithuanian Copyright Protection Association (LATGA), in collaboration with the Flusso Project residency (Italy).
“Und von liehte vinster” gets its title from a text by Meister Eckhart where he quotes St. Augustine: “The soul has a secret entrance to the divine nature, when all things become nothing for it.” And Eckhart continues: “On earth, this entrance is nothing but pure detachment, and when the detachment reaches its climax, it becomes ignorant with knowing, loveless with loving, and dark with enlightenment.”
The last sentence sounds in Middle High German as follows:
“Und sô diu abegescheidenheit kumet ûf daz hoehste, sô wirt si von bekennenne kennelôs und von minne minnelôs und von liehte vinster.”
Helena Tulve
This composition was written for the Hong Kong New Music Ensemble (HKNME) and created within the framework of the project 'Shapes Songs - a young person's guide to totally abstract too-serious music!'.
The piece explores relationships between what? and how?, while combining ideas of an alphabet and musical notation, as well as different emotions and forms of expression, and various playing techniques helpful to reveal and communicate them."
Santa Bušs
I usually do not write texts about my works, as it is difficult for me to convey musical ideas in words. When composing, I think in sounds, in their relationships, connections, interactions and in musical time – not in narratives. For me, music creates its own world, which does not necessarily have to be linked to literature or images. This piece is another sound entity, inviting both performers and listeners to create a personal experience and to discover their own individual relationship with the music. Anna Korsun
Performers
CELLO CLUB
“Cello Club” is a collective of professional musicians bringing together members of the Lithuanian National Symphony Orchestra, the State Symphony Orchestra, the St. Christopher Chamber Orchestra, and other leading ensembles. The group’s members – Rokas Vaitkevičius, Povilas Jacunskas, Evaldas Petkus, Domas Jakštas, and Arnas Kmieliauskas – are known not only for their mastery but also for their ability to fuse elements of classical and contemporary music. Within the ensemble, each musician can take the role of leader, creative driving force, or soloist, making their programmes a celebration of surprises and stylistic diversity.
Organizer
Supported by
Strategic partners
Media partners
Partners
Kiti festivalio renginiai
Lapkričio 16 d. 19 val.
Lietuvos kompozitorių sąjunga
Lapkričio 16 d. 19 val.
Lietuvos kompozitorių sąjunga
Lapkričio 16 d. 19 val.
Lietuvos kompozitorių sąjunga
Lapkričio 16 d. 19 val.
Lietuvos kompozitorių sąjunga
Lapkričio 16 d. 19 val.
Lietuvos kompozitorių sąjunga
Lapkričio 16 d. 19 val.
Lietuvos kompozitorių sąjunga