Lithuanian

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.

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.

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.

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 “Marsyas”; 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.

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 color and counterpoint, sitting somewhere between Villa-Lobos and Pettersson in its profligate abundance.

Valentin Silvestrov’s elusive post-modern style is rich in nostalgia for the lost music of a barely remembered past filled with beauty and spiritual aspiration. "Ode to a Nightingale is a masterly response to Keats’ unsentimental reflection on human mortality, contrasting with the beauty and affecting intimacy of the Cantata No. 4 and the resonant emotional world of its companion piece, the Concertino. Starkness set against elegiac melancholy are the shared features of Moments of Poetry and Music and the Seventh Symphony—an embodiment of Silvestrov’s dual musical nature of anguish and tenderness.