FESTIVALJAUNA MUZIKA

Programme

• 14 September

  Introduction

  Lithuanian Composers’ Union, Concert Hall

  Panel Discussion 5.00 pm

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  Panel Discussion

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  Panel Discussion 5.00 pm

  5.00 pm
  Lithuanian Composers’ Union, Concert Hall.Registration required, please fill in the form.
  A. Mickevičiaus Str. 29

  Developing cultural centres together: Lithuania—Ukraine

  The full-scale war unleashed by Russia in Ukraine provoked an unprecedented mobilization and cohesion of cultural actors in Ukraine and other European countries, amongst which Lithuania is a prime example.

  At the moment of crisis, the natural development of trends in communities accelerates, tendencies become prominently observable, and processes that seemed to take years or decades develop within months.

  Reflecting on the processes within the musical communities in Ukraine and Lithuania, planning for the future and searching for common ground to achieve synergy, mutual enrichment and support, the panel discussion "Developing cultural centres together: Lithuania-Ukraine", programmed by the Kyiv Contemporary Music Days and the Lithuanian Composers’ Union within the Jauna Musika festival, will be held 14 September 2022.

  The discussion will provide a platform for institutional actors in the sphere of culture, music in particular (contemporary, experimental, electroacoustic, etc.), who are developing cultural centres, both formal and informal, that contribute to building sustainable professional communities. Covering the previous path and current situation within the music communities both in Lithuania and Ukraine, we will also focus on the practical aspects of possible collaborations.

  The discussion will address common goals and plans for the post-war period. It is time to prepare the ground for new centres to emerge and to find ways in which Ukrainian and Lithuanian actors in contemporary/ experimental/ electroacoustic music can work together to bring about new opportunities and enhance each other’s efforts.

  Speakers:

  • Daina Urbanavičienė (LT) — Vice-minister of Culture of Lithuania
  • Galyna Grygorenko (UA) — Deputy Minister of Culture and Information Policy of Ukraine
  • Albert Saprykin (UA) — composer, co-founder and head of the Kyiv Contemporary Music Days
  • Alla Zagaykevych (UA) — composer, President of Ukrainian Association of Electroacoustic Music in CIME/ICEM founder of EM-visia
  • Ostap Manulyak (UA) — PhD, composer, co-founder of the Vox Electronica and Tetramatyka Festivals
  • Mykolas Natalevičius (LT) — composer, head of the Lithuanian Composers’ Union
  • Kateryna Alymova (UA) — cultural manager, artistic director of the Jauna Muzika Festival
  • Marta Finkelštein (LT) — pianist, curator, artistic director of ,,Synaesthesis" ensemble
  • Mantautas Krukauskas (LT) — composer, Head of LMTA Music Innovation Studies Centre

  Moderator:

  • Rasa Murauskaitė (LT) — music critic and senior editor of LRT KLASIKA

  *The language of the panel discussion is English.

  The event is hosted by the educational and concert platform for new music of the Kyiv Contemporary Music Days together with the Lithuanian Composers' Union as part of the Jauna Muzika Festival 2022.

  There will also be an online broadcast on the Kyiv Contemporary Music Days' Youtube channel, as well as the Jauna Muzika Festival and the Kyiv Contemporary Music Days' Facebook pages.

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• 15 September

  Indefinite Inevitability

  Lithuanian Composers’ Union, Concert Hall

  Orest Smovzh (UA) 6.00 pm

  Synaesthesis Ensemble (LT) 8.00 pm

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  Orest Smovzh (UA) 6.00 pm

  6.00 pm
  Lithuanian Composers’ Union, Concert Hall
  A. Mickevičiaus Str. 29

  Expecting / Imagining / Reflecting

  This concert is a somewhat inconsistent attempt to examine the impacts of the violin. First of all - the spectre of sound and noise it creates and how it impacts the concert space. Also, the resonance it creates in combination with other sounds. But most importantly, it is an examination of what "action" and "reaction" in the performance might be. How does expectation shape the perception, how does the sound influence us but stay intangible, and how time and distance can be conceptualised? The inconsistency of this examination is in a constant change of function that the violin takes from piece to piece, jumping between opposites and creating similar sound threads.

  Pauline Oliveros. Environmental Dialogue
  Adrian Mocanu. ...aux lisières lointaines for violin solo
  Erik Dæhlin. On Transposing Distance
  Mieko Shiomi. Boundary Music
  Christian Wolff. Music for 1, 2 or 3 Musicians
  Yann Robin. Draft II
  Ville Raasakka. Benzene
  George Maciunas. Solo for Violin

  Orest Smovzh is a Ukrainian-born violinist with a repertoire spanning 800 years and a wide spectrum of interests. He plays contemporary music and often combines it with other areas of artistic creativity. He has performed his innovative programs in Europe, North America, Asia, and Australia. He is a keen participant of artistic collaborations and shows considerable interest in duo recital repertoire and solo violin performances. He is also known as festival manager and the man behind the concepts of several music projects.

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    Photo credits: Elza Zherebchuk
  • 
    Photo credits: Elza Zherebchuk

  Synaesthesis Ensemble (LT) 8.00 pm

  8.00 pm
  Lithuanian Composers’ Union, Concert Hall
  A. Mickevičiaus Str. 29

  www.synaesthesis.lt

  Dark Times. Point One [6/14, 9/11, 2/24]

  The program presented by the Synaesthesis Ensemble has been conceived during the dark times that befell our region after Russia’s full-scale invasion of Ukraine on 24 February. In line with this year’s concept of the festival, the program declares that once an action is performed, it cannot be revoked. It speaks of the inevitability that leads to consequences and points to the three important moments in history:

  
  

  • 6/14 – First mass deportations from Lithuania
  • 9/11 – Terrorist Attacks in New York
  • 2/22 – Full-scale invasion of Ukraine

  These events have profoundly changed the respective nations, the Americans, the Lithuanians and the Ukrainians, leaving them with the sense of lost security, communal trauma, and the feeling of injustice.

  WTC 9/11, the legendary composition by Steve Reich, combines on-site recording with original musical. The composer created the artistic documentation that reveals the horror experienced by the people in the epicentre of the tragedy.

  Not My River by Lithuanian composer Rita Mačiliūnaitė was inspired by a very personal motif, her father Bronius Mačiliūnas’s story of his deportation to Siberia. The one-man tale becomes a powerful testimony related to one of the nation’s darkest periods. The narrative is especially sensitive as we see history repeating itself in the most sinister ways in Ukraine, more than 80 years on.

  It is exactly this radical presence that the Ukrainian composer Boris Loginov attempted to capture in his Sleep During Insomnia. The piece becomes a personal expression of emotional suffering during wartime. It captures the bodily perception of the danger that stimulates strong instinct of self-protection and frantic process of thought that heightens human experience and, quite unexpectedly, results in the awareness of the most horrid and most beautiful.

  This programme creates a communal space for the exchange of the painful, sensitive and important.

  Steve Reich. WTC 9/11
  Rita Mačiliūnaitė. Ne Mano Upė (Not My River) – premiere
  Boris Loginov. Sleep During Insomnia – premiere

  Synaesthesis, the Vilnius-based contemporary music ensemble, has gained international fame through the introduction of experimental works by Lithuanian and foreign composers to geographically diverse performance venues. The team of curious musicians has been led by the vision that goes beyond sound and into space – as light, movement and narrative; anything that allows for the professionally performed music to become a multidimensional creation and blurs the lines between the genres.

  Performers: Simas Tankevičius (violin), Kristina Morozova (violin), Monika Kiknadzė (viola), Ignė Pikalavičiūtė (cello). Also performing in the concert: Kostas Kravčenka, discant. (Vilnius 'Ąžuoliukas' music school. Teacher Edita Narmontienė.

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    Photo credits: Monika Jasevičiūtė
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    Photo credits: Terekas Tomas

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• 16 September

  Nature of Movement

  Lithuanian Academy of Music and Theatre, Julius Juzeliūnas Spatial Sound Sphere

  Mano Nata (LT) 3.00 pm

  LMTA MiSC showcase 6.00 pm

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  Mano Nata

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  LMTA MiSC

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  Mano Nata (LT) 3.00 pm

  3.00 pm
  Lithuanian Academy of Music and Theatre, Julius Juzeliūnas Spatial Sound Sphere
  Gedimino Ave. 42

  manonata.lt

  E.manonata is the debut festival of electronic music for schoolchildren aimed at developing their creative abilities and encouraging their experiments through the cooperation with the established composers of electronic music. After presenting the ideas and sketches of their works, seven students from Vilnius, Kaunas, Panevėžys and Utena have finetuned them together with their teachers, composers Jonas Jurkūnas and Raminta Naujanytė. They explored the main themes of the Jauna Muzika Festival – Action(s) – and the nature of movement. The e.manonata project pushes its participants towards discoveries and surprises, through crossing the boundaries of comfort and opening new possibilities.

  Participants:
  Tadas Vinskevičius, Ula Gudavičiūtė, Otas Kupriūnas, Saulė Cechanavičiūtė, Rokas Raibis, Dominykas Meškauskas, Astijus Vainauskas

  Mentors:
  Raminta Naujanytė, better known as Bjelle, is a songwriter, lecturer, and radio and TV presenter. She has been a member of music bands, pursued a solo career and worked as a teacher. Recently she has been interested in experimental sound, her work focusing at new technology.

  Jonas Jurkūnas’s creative style, rooted in jazz, exploits diverse layers of music-making, from academic to pop. His works range from chamber and orchestral music to electronic, multimedia and interdisciplinary projects. He teaches classical and jazz orchestration as well as composition of acoustic and electronic music.

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    Photos from Mano nata archive
  • 
    Photos from Mano nata archive

  LMTA MiSC showcase 6.00 pm

  6.00 pm
  Lithuanian Academy of Music and Theatre, Balcony Theatre
  Gedimino Ave. 42

  lmta.lt/lt/

  This concert is the result of cooperation between the Lithuanian Composers’ Union and the Lithuanian Academy of Music and Theatre (LMTA). Doctoral and master students of the LMTA are at the centre of the event aimed at employing technology as an instrument and a tool in order to bring artistic ideas to life. The Jauna Muzika Festival and the LMTA Music Innovation Studies Centre (MiSC) have joined forces to create a setting for a young generation of emerging Lithuanian composers to work with an expert in the field, the Swedish composer, sound artist, improviser and researcher Palle Dahlsted, who has led a masterclass prior to the event. The workshop has helped shape students’ ideas and further their skills in creating closer interaction and synergy between art, technology, composers, performers, and the audience. Technical support for the performance is provided by MiSC and its head Mantautas Krukauskas, as well as Palle Dahsltedt.

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    Photo credits: Dovydas Zilinskas
  • 
    Photo credits: Dovydas Zilinskas

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• 17 September

  Active Observation

  Arts Printing House, Black Hall

  Melos (LT) & Anton Lukoszevieze (UK-LT) 6.00 pm

  Marius Salynas (LT) 8.00 pm

  Palle Dahlstedt (SE) 9.00 pm

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  Melos (LT) & Anton Lukoszevieze (UK-LT) 6.00 pm

  6.00 pm
  Arts Printing House, Black Hall
  Šiltadaržio Str. 6

  • www.meloscollective.com
  • www.antonlukoszevieze.co.uk/

  Eskhatos

  In order to hear you need to listen, to really see you must stop. What should you do to be able to observe the hidden? Composers invite the audience to hear what is within the sound by trying to stop the time and immerse the listener into the almost imperceptible sound processes. The four composers invite the audience to stop, listen and see into the sound. In their individual ways, they all explore the issue of stopping the time in music in order to provoke the deep-delving ear of the listener.

  Eskhatos offers four different approaches, with Alexey Shmurak exploring noise as a static sound wall that can be heard, seen, remain invisible or emerge from within the noise texture; Pablo Mariña looks into the resonance of the instruments (voice and cello) and takes the acoustic phenomena further by producing immersive octatonic sound fog; Morton Feldman has been dealing with the related issues for many years by composing repetitive, minimal pieces of extreme durations, like Voices & Cello in this programme. Finally, the Lithuanian composer Rytis Mažulis employs barely noticeable microtonal movements of voices and cello in his work Eskhatos, written for the Melos Vocal Ensemble and Anton Lukoszevieze, the UK-based sound artist. This piece offers the listener a chance to grasp just observe what happens in her or his ears when the distance between the sounds is extremely small.

  Alexey Shmurak. Intermezzo
  Pablo Mariña. p_c_+_v (Part One: Cello & live electronics; Part Two: Eight voices, cello & live electronics) – premiere
  Morton Feldman. Voices & Cello
  Rytis Mažulis. Eskhatos – premiere

  Melos is an all-female vocal ensemble dedicated to new music. Performing works by living composers and sound artists, the group seeks to create a space for practices in experimental music. Melos appears in different formations, from solo to a small choir, and has presented programs together with Jacob Kirkegaard, Rytis Mažulis, Arturas Bumšteinas and other composers.

  British-Lithuanian cellist and inter-disciplinary artist Anton Lukoszevieze is one of the most diverse musicians of his generation known for his performances of avant-garde, experimental and improvised music. The artist has taken part in numerous international festivals throughout Europe and the USA. In June 2009, he was awarded the Millennium Star medal for his contribution to Lithuanian culture. In 2012, he collected the Royal Philharmonic Society award for his chamber music.

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    Photo credits: Tomas Terekas
  • 
    Photo credits: Tomas Terekas

  Marius Salynas (LT) 8.00 pm

  8.00 pm
  Arts Printing House, Black Hall
  Šiltadaržio Str. 6

  360°

  In the stream of actions, it is necessary to stop and look around. To clean our heads of mass media information. To find ourselves surrounded by nature and its eternal and infinite energy. All the truths invented by the mankind melt like glaciers in the sun. Compared to our evolution as a species over millions of years, they are nothing more than dust deposited inside the modern consciousness. Stop and look around. Forget the civilization, at least for a moment. Stay here and now. You will always come back, this is inevitable. In spite of everything, you remain alone with yourself and the nature that gave birth to you.

  The work consists of a panorama of landscapes from various places, filmed in a 360-degree circle, and neutral, meditative music. The viewer-listener must feel the being of the places spatially, both through visual and auditory means. The natural soundscape has been eliminated. The viewer, while observing the scenery, is immersed into a meditative sonic environment.

  The style of academic music by the composer and sound artist Marius Salynas is formed autonomously from his many other creative activities ranging from musical theatre and television to advertising, interdisciplinary projects, rock band, and music producing. The greatest part of his music is associated with new technologies and the opportunities they offer. His electronic and electroacoustic compositions are distinguished by paradoxical traditionalism, moderation and narrative. He seeks to maintain the aesthetics of sound design in his music as well as the dynamism of the structure of the work. His music premiered at the Jauna Muzika Festival in 2009, 2011, 2013, 2014 and 2019.

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  Palle Dahlstedt (SE) 9.00 pm

  9.00 pm
  Arts Printing House, Black Hall
  Šiltadaržio Str. 6

  Probe and React, Ponder and Vary

  Palle Dahlstedt will perform a live electronics set made specifically for the Jauna Muzika Festival, combining material and techniques from his latest live works, where feedback processes, complex systems, deterministic chaos, sonic decay, and embodied interaction are key ingredients. The set will be performed on modular synthesisers and various gestural controllers. Dahlstedt’s aesthetics of performance, composition and improvisation are based around the concept aimed at finding out where the human and the machine form a system of interacting agents. This resonates well with the theme of the festival, Action(s), and the theme of today, Active observation. In an interactive system like this, which is inherently unstable, the musician explores the possible and observes and deals with the outcome. But since every reaction is also an action that changes the state of the system, which gives something new to react to, this in effect forms a circuit. The main challenge here is finding out a resting point to ponder upon, and finding out the ways to variate the music at will, in the constant battle between the unpredictable and the known.

  Palle Dahlstedt is an artist, composer and researcher from Sweden. He is interested in the deep entanglement of art and advanced technology, particularly in relation to creative and aesthetic implications. He develops advanced algorithms for creative processes that allow for embodied performance of electronic sounds. He constantly steps over into other art forms such as photography, visual arts and performance, and collaborates with theatre, poets, dancers and visual artists.

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    Photo credits: author's archive
  • 
    Photo credits: author's archive

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• 18 September

  Present Trajectories

  Arts Printing House, Black Hall

  Ukrainian electroacoustic works 6.00 pm

  Yana Shliabanska (UA), Alla Zagaykevych (UA), Kotra (UA) 8.00 pm

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  Ukrainian electroacoustic works 6.00 pm

  6.00 pm
  Arts Printing House, Black Hall
  Šiltadaržio Str. 6

  Breaking Through

  The act, acting… Instantaneously, almost reflexively… To escape from your own house under fire or to go to the shelter when the air alerts sound. Too many of us now have such experience… Or, conversely, throughout several years being focused on the slow solitary breaking through and getting out… To spend years on building your own artistic space.

  The sense of time betrays us. Both in music and life. Several generations of Ukrainian composers, who are so different, unexpectedly have come so much closer. The idea of Nonexistent Civilizations Chronicles, a 2014 piece by Sviatoslav Krutykov, one of the pioneering composers of electronic music in Ukraine, unexpectedly provides meaningful echoes with Umbra, the work by Alex Tchorny written in the summer of 2022 in Kyiv. Both pieces appeal to the treasury of meanings in the ideal world.

  Inmostones by Yurii Samson was brought to life in the occupied Nova Kakhovka, while Edward Sol composed Almost Sugar in his own house, which has miraculously escaped demolition after the liberation of Kyiv region in the spring of 2022. It is impossible not to think about that. It seems that the sound of boundless space, for the release of which we all seek, shows through the mathematical symbols #18 5 19 21 18 18 5 3 20 9 15 14 employed by Georgii Potopalskyi, aka Ujif_Notfound.

  Sviatoslav Krutykov. Nonexistent Civilizations Chronicles, 2014
  Alex Tchorny. Umbra, 2022 – premiere
  Yurii Samson Inmostones, 2022 – premiere
  Edward Sol. Almost Sugar, 2021 – premiere
  Ujif_Notfound. TER.RAIN #18 5 19 21 18 18 5 3 20 9 15 14, 2022 – premiere

  Performers: Alla Zagaykevych (electronics), Orest Smovzh (violin)

  Yana Shliabanska (UA), Alla Zagaykevych (UA), Kotra (UA) 8.00 pm

  8.00 pm
  Arts Printing House, Black Hall
  Šiltadaržio Str. 6

  • cargocollective.com/mediartists/Alla-Zagaykevych
  • www.dmytrofedorenko.com

  Terra Santa

  The audiovisual live electronic set is based on the image of the earth, and more specifically, the field during the war in Ukraine. It is inherent for us to personify the earth, calling it native or foreign. We say “wipe off the face of the earth”, which implies the presence of a face. On the one hand, the earth appears as a personification and a living matter, which relates it to sound. As the action aimed at destruction, war wounds the earth. Does the action aimed at healing exist? Is healing a passive background process? Nature can heal a person, but could it be the other way around? Modern filming technology allows us to see something that is not inherent in the natural perception capabilities of the human eye. Such a vision scales our awareness of the world and should also scale our thinking and our actions. This performance is about wounds and healing, about understanding them in the context of small and big, temporary and eternal, person and land.

  Yana Shliabanska is a composer and sound artist based in Kyiv. She writes chamber, orchestral and electroacoustic compositions, music for theatre and creates interactive sound installations. She is a co-founder and member of GUMA, the electroacoustic duo that has performed her music for multidisciplinary projects and live electronic shows.

  Disorientation on Location

  The works presented during this performance by composer Alla Zagaykevych and violinist Orest Smovzh are linked by the idea of ​​mastering space through outward movements. The works were written at different times, hence we hear different musical languages.

  Orest Smovzh was the first performer of Transparency in 2009 in Lviv. Back then, the piece spoke about the transparency of the environment, as an opportunity to grasp the perspective of space and to feel the brightness, incisiveness and fullness of its sounds. The optics in 2022 is different. The reference here to Céline’s novel “Le voyage au bout de la nuit” appeals to the rupture of planes, the destruction of borders, and the loss of the integrity of space and internal balance. This is a move in the dark without signposts or landmarks, in the midst of silence.

  Transparency for violin and electronics
  Le voyage au bout de la nuit
  RANA
  Orest Smovzh, violin

  Alla Zagaykevych is a Ukrainian composer, performance artist, curator, musicologist, and, since 2010, the president of the Electroacoustic Music Association of Ukraine. Her list of works includes symphonic, instrumental and vocal chamber music, electroacoustic compositions, multi-media installations and performances, operas, and sound tracks.
  In 2017, she was awarded the Golden Dzyga prize as Ukraine’s best film composer.

  Blazing Anthem For The No One Who Is Just Anything.

  Through the years, while working on the most experimental and extreme side of sound, the main idea behind Kotra’s releases and live performances was that of provoking his own and his audience’s limits of perception, exploring the possibilities of music to affect body and mind in the most extreme conditions, and treating experimental music as a practice of transformation. Radness Methods opens a new chapter in Kotra’s ongoing sonic research.

  The idea of the piece stems from ancient ritual drum music and rhythmic meditation techniques, where a ritual sound performance appears as a series of abstract sonic actions, rather than musical events, provoking a journey to non-ordinary states and realities, drumming a way into silence.

  By layering deafening sounds into the patterns of acoustic hyperventilation, Radness Methods initiates a flow of invoking contrasting conditions and offers an artistic method of extreme urban meditation, and a fierce sonic driver for the ultimate sledgehammer dance.

  Radness Methods is a shamanic ritual for the sorcerers of concrete and asphalt, an ecstatic hymn for the philosopher warriors debating the power over life and death. Blazing anthem of excellence for the no one who is just anything.

  Kotra is the moniker of the Berlin-based multidisciplinary artist, Dmytro Fedorenko. He is one of the pioneers on the Ukrainian experimental electronic music scene responsible for a number of highly acclaimed projects, festivals and art events dedicated to experimental music in his home country, Ukraine. For him, music is one of the most powerful abstract tools of communication. By offering his artistic extremes to the audience, Kotra takes a bizarre look into the radical experimental nature of music.

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    Photo credits: Dmytro Fedorenko
  • 
    Photo credits: Valeriia Landar
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