Musikzeitschriften im Portrait: Vivavoce
Attention! High Tension!
von Jūratė Katinaitė, aus: VivaVoce Nr. 80
The maximum use of the instruments’ technical capabilities, intensive exploitation of extreme registers, and the sound of percussion alternating between meditative and expressive moods create an unexpected acoustic effect and an impression of a ritual. These characteristics are typical of much of the composer’s work.
Martinaitytė is a master of brass. In her scores exceptional roles are typically given to such instruments as tuba, trombone or bassoon which are traditionally thought to be dull or inert. The composer extracts these instruments from the utmost ends of the orchestra and transforms them into a limelight of indispensable notability. Her scores present almost impossible tasks for these instruments, but, thanks to her favorite performers Sergijus Kirsenka (tuba) and Šarūnas Kačionas (bassoon), they become not only possible, but also enchanting in their theatre-like concert nature and glaring virtuosity. Yet still, instead of enjoying the expressive motorics, wild rhythms and sparkling passages, one feels the almost Zen-like test with a tolerance of tension for both performers and listeners. Martinaitytė shares her emotional life as if provoking the listeners – can they bear her high tension?
In recent years time has been surprisingly productive for the composer. Having lost her father, a special admirer of her work a year ago, the composer fully absorbed herself in her work, as if building bridges between here and there, between reality and illusion. In April 2006, the British Smith Quartet performed her electro-acoustic composition “Illusions of Time and Space”. In September of the same year in Toronto, Canada, at the CBC radio’s Glenn Gould studio, the Ergo Ensemble played her “Completely Embraced by the Beauty of Emptiness” (commissioned by the ensemble). This time Martinaitytė’s existential rhetoric acquired an extremely subtle, gently lyrical undertone, well expressed by the title of one of the parts, “Unending Variations of Longing”, and “The Illumination of Acceptance” (the final part of “Letting Go”).
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