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FULL REQUIEM (Vidamantes Bartulis) Kaunas 2022 Raminta Vaicekauskaitė, Egidijus Bavikinas, Vladimiras Prudnikovas

Video Recording from: YouTube     FULL VIDEO          Qries

Information on the Performance
Information about the Recording
  • Published by: Kauno filharmonija  
  • Date Published: 2022  
  • Format: Streaming
  • Quality Video: 4 Audio:4
  • Subtitles: nosubs  
  • Video Recording from: YouTube     FULL VIDEO
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ADDITIONAL INFORMATION ON THIS PERFORMANCE

Vidmantas Bartulis’s (1954–2020) Requiem was commissioned by the Lithuanian Ministry of Culture and dedicated to the commemoration of the victims of Stalinism. The composer wanted a more general dedication, not related to a specific historical period, so the score included the entry “For those who died for freedom”. The work was first performed in 1989 in the courtyard of Vilnius University, and in 2011 this magnificent work was performed at the Vilnius and Pažaislis music festivals. Requiem, which is being revived for a new sound for the third time, was to be dedicated to the thirtieth anniversary of the January 13 events and the first anniversary of the composer’s death. Due to the pandemic situation, the project, which requires a lot of resources from performers, has been postponed several times, but it will finally see the light of day, supplemented with new means of expression: the impressive musical fabric, performed by the most prominent Kaunas musical groups and soloists, will be complemented by video projections created by Arvydas Strimaitis, responding to the themes encoded in the work.

Many features of V. Bartulis’ unique creative style can be recognized in the work: hidden or no longer hidden dramatic tension, unhurried but intense development of musical material leading to huge culminating arrays of sounds, the coexistence of different musicians in the time and space of the work, episodes of demonic grotesque emerging from the depths of despair, recreating images of the Last Judgment that freeze the bones with metaphysical cold, drive a wedge between the stereotypical images that have taken root in the listener’s consciousness and the experience that is born right there, chilling and comforting at the same time, opening the openings of the soul, accompanying one towards catharsis…

This is a concert Requiem, but its structure follows the liturgical canons: nine parts sung in Latin correspond to the centuries-old course of mourning masses. The composer supplemented this structure with the instrumental part Processio – like a theatrical interlude, a kind of intermission. It allows the main performers to breathe, architecturally structures the entire monumental structure of the cycle, and plays the role of a necessary pause after the first and greatest climax – the Dies irae part.

The last sound of the Requiem, according to the composer’s idea, is the howl of a siren. In one of the interviews, the composer, when asked what chords of the subconscious this siren should strike, replied: “A very earthly chord. After all, a siren is a familiar alarm signal for us. The composer’s intuition turned out to be prophetic: two years after the premiere of the Requiem, the tragedy of January 13 struck us…

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