Ugnė Giedraitytė (1984) is currently studying composition with Osvaldas Balakauskas at the Lithuanian Academy of Music and Theatre. She has participated in the international workshops for young composers in Villecroze (France), Istebna (Poland), and has received additional training at the High Shool of Music and Arts in Porto (Portugal). In 2005, her portrait concert was performed at the New Theatre of Riga, Latvia. Her composition Panneau for clarinet solo and string orchestra was awardedthe second prize in the young composers category at the International Rostrum of Composers in Paris in 2007, and the debut prize at the Selection of Works of the Year, organized by the Lithuanian Composers‘ Union. Her piece Small Dancing Figures for violin, viola and flute was performed in Kassel last May, 2008.
NES (Musical Figure), for violin, clarinet and piano (2006)
Is it possible for one to “see” music? If so, is it possible to emphasize those images by adequately selecting the musical parameters? Is it possible to draw a parallel between a piece of music and a live, pulsating figure in motion?
I have discovered, through my own and other composers’ explorations, several factors contributing to the revelation of the musical figures:
- A high degree of diversity of the manner, in which the sound is expressed.
- Experimenting with timbres, their interflow or, on the contrary, firm separation.
- Restraint of the harmonic alteration (only meaningful, orderly alteration possible).
- Echoes and repercussions, dynamic waves, instrumental transmission, avoidance of the palpable melody- it all helps to envision the “musical creature”.
Why “NES” (“because”)? For it means that the answer exists or rather so does the belief in it.
Quand, for clarinet, voice and piano (2005)
Mysterious, but calm inside.., a little bit cold – it is the way how I think about this music.