Lithuanian

This second Ondine recording of music by ibuokl Martinaityt (b. 1973) is devoted exclusively to works scored for string orchestra, all of which were composed in the last three years. These works are performed by the Lithuanian Chamber Orchestra, one of the most internationally well-known orchestras from Lithuania, conducted by Karolis Variakojis.

This third instalment of the recent symphonic output of Fridrich Bruk (born in Ukraine in 1937 but a Finnish resident since 1974) brings two works of astonishing vitality for a composer in his eighties. Both of them have social undercurrents: Symphony No. 22 is driven by ecological concerns about the pollution of the world’s oceans, and No. 23 takes its material from folk-melodies of the Ingrians, a vanishing ethnic group on the Finnish- Russian border. The orchestral writing in both pieces is passionate and wildly inventive, a kaleidoscope of colour and counterpoint, sitting somewhere between Villa-Lobos and Pettersson in its profligate abundance.

Ondines releases on Baltic composers continue with a new exciting release featuring recent orchestral compositions by New York-based Lithuanian composer ibuokle Martinaityte (b. 1973) composed within a span of six years performed by Lithuanian orchestras conducted by the young talented Lithuanian conductor Giedre slekyte and pianist Gabrielius Alekna as soloist. Martinaityte was awarded a Guggenheim Fellowship in 2020. Among her output are impressive orchestral compositions with evocative titles and beautiful orchestral textures with precision to detail.

In honour of Arvo Pärt's 85th birthday on September 11, 2020. Arvo Pärt’s compositions were and are often inspired by external circumstances. Evidence of this can be seen in the selection of works for and with piano, which Onutė Gražinytė chose for her debut recording. The “Lamentate” was inspired by Anish Kapoor’s sculpture “Masyas”; in 1977 he dedicated the Variations for the healing of Arinushka” to his daughter; “Pari intervallo” was inspired by the ensemble “Hortus Musicus”, and the list goes on… “Für Alina” is of particular importance to the Lithuanian pianist as she knows the mother of the piece’s dedicatee. Onutė Gražinytė was astounded by the simple notation. “First you ask yourself: What is this?” Her playing reveals that she has understood. “Arvo Pärt has reached the core. It’s no coincidence that he dedicated many piano pieces to children and let a boy sing the “Our Father”.