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  • Jauna Muzika is a yearly festival presenting artists working with sound and music as an experimental art form. Founded in 1992, the festival initially focused on contemporary classical and academic electro-acoustic music, but has since evolved to cover a diverse range of sonic practices and from 2019, it has shifted the attention of its audiences towards a further ‘cochlear-vestibular’  sensibilities through sound art and performative concerts.


    23rd April

    6.30 pm | Arts Printing House, Black Hall and Studio III


    for brass band and video (festival commission)
    Black Hall, 6.30 pm

    Performed by The Honkin’ Dudes Brass Band (Dovydas Stalmokas – saxophones, leader, Mindaugas Vadoklis – trumpet, Aurimas Rimeikis – trumpet, Dominykas Vyšniauskas – trombone, Jievaras Jasinskis – trombone, Domantas Razmus – snare drum, Ignas Kasikauskas – bass drum, Lukas Pivoriūnas – sousaphone).

    “The piece is about masculinity, lust, beauty and other things. It features Youtube videos selected by the composer”– Juta Pranulytė

    Juta Pranulytė is Lithuanian composer currently residing in Vilnius. She studied at the Lithuanian Academy of Music and Theatre, Royal Conservatoire of Scotland and the Victorian College of the Arts (University of Melbourne). Her work has been selected for the “Anthology of Lithuanian Art Music of the 21st Century” released by Music Information Centre Lithuania, and her music has been performed by The BBC Scottish Symphony Orchestra, Dunedin Consort, The Glasgow New Music Expedition, Red Note Ensemble, “Modus” Chamber Orchestra as well as The Vilnius Municipality Choir “Jauna Muzika” among others. She is curating “Druskomanija” festival,  manages the chamber choir “Melos”, runs creative music courses for young people and studies art theory and criticism in Vilnius Art Academy.

    The Honkin’ Dudes Brass Band was founded by saxophone player Dovydas Stalmokas, inspired by the New Orleans musical traditions and is appearing both publicly and site-specifically with their various “risky” improvised programmes.


    RIE NAKAJIMA & PIERRE BERTHET Dead Plants and Living Objects
    Studio III, 7.30 pm

    Tin cans, whistles, locomotive suspension springs, porcelain bowls, compressor top bells, ping pong balls, dry agave leaves, sponges, steel wires, branches, paper foil, plastic bags, silver papers, pink gloves, piano, balloons, buckets, feathers, water, scraps, pebbles, flower pots, guitar, metal tubes, paulownia tree seeds, pearls, bamboo sticks, logs, bones, stones, filter queens…

    Rie Nakajima and Pierre Berthet have been creating various ways to vibrate things so that their acoustic shadows dance around: invisible air volumes that reshape constantly, move in the space, enter in the most secret places and inside ourselves. A way to get closer to things inherent spirits is to listen to them. Eventually encouraging them to produce sounds and resonate by various means: to hit, caress, shake, beat, scrape, scratch, claw, boil, clap, rattle, rock, throw, move, magnetize, clamp, cook, pinch, galvanize, motorize, bow, blow, pluck, heath up, let flow, freeze, drop, drip, connect, roll, mix, extend, sing…


    Rie Nakajima and Pierre Berthet homepage:

    Dead Plants and Living Objects video fragment:


    SALOMÉ VOEGELIN Listening to Indivisible Volumes
    Performance talk
    Black Hall, 8.30 pm

    This curatorial performance engages listening and sounding to explore the space as an indivisible volume. The voluminous expanse is generated through things and subjects as things sounding their co-existence. In this talk, listening to works and texts we will hear the world as a sonic cosmos composed of processes and relationships that expand beyond a certain territory, a map or a floor-plan, walls and ceilings. This is a collaborative sphere, a co-inhabited world, which gives us the cause and the opportunity to reconsider how we live together and how we inter-are.

    Salomé Voegelin is an artist and writer engaged in listening as a socio-political practice of sound. Her work and writing deal with sound, the world sound makes: its aesthetic, social and political realities that are hidden by the persuasiveness of a visual point of view. She is the author of “Listening to Noise and Silence” (2010) and “Sonic Possible Worlds” (2014), her third book “The Political Possibility of Sound” was published by Bloomsbury in November 2018. As an artist Voegelin works collaboratively with David Mollin (Mollin+Voegelin) in a practice that engages words, things and sound and focuses on invisible connections, transient behaviour and unseen rituals.


    24th April

    6.30 pm | Arts Printing House, Black Hall

    Michał Libera & Barbara Kinga Majewska

    sonic tableau vivant for voice, recordings and actors
    Black Hall, 6.30 pm

    Michał Libera – composition, libretto, recordings
    Barbara Kinga Majewska – composition, tableau vivant, voice

    Participants: Ona Kotryna Dikavičiūtė, Akvilė Zarankaitė, Tomas Kažukauskas, Kristina Skaldina-Moška, Emilija Filipenkovaitė, Adolfina Kunčiūtė

    ODMA (in Polish odma means “pulmonary emphysema”) is a tableau vivant with a soundtrack based on the late Franz Kafka’s novel Josephine, the Singer or The Mouse Folk, one of his most visionary sonic inquiries. It is a story of highly admired, as well as controversial singing-whistling virtuoso – Josephine, a mouse in the nation of mice, who is very likely not to have ever made any sound at all. ODMA is a study of her dubious talent. It takes into account biographical facts from Kafka’s late years when he was suffering from tuberculosis which strongly affected his speech. Visually, the performance is inspired by one of the photographs taken in the tuberculosis sanatorium. It captures a patient undergoing sun treatment – an enduring, everlasting, motionless process of curing one’s throat. ODMA turns it into a tableau vivant, in which one of the actors is an exquisite Polish singer, Barbara Kinga Majewska.

    Michał Libera is a sociologist working in the sound and music field since 2003, recently, mostly as a dramatist and librettist in sound essays and other experimental forms of radio art and opera. Recent shows include “Cosmos-Cosmos” based on Witold Gombrowicz’s work, “Snow” based on Ted Hughes’ work, “Kalkwerk / Studium” based on an unwritten treatise on hearing in “Kalkwerk” by Thomas Bernhard. Libera also runs the conceptual pop label Populista dedicated to mis- and over- interpretations of music as well as series of re-interpretations of music from the Polish Radio Experimental Studio (Bôłt Records). He curates various concerts, festivals, and anti-festivals, music programs for exhibitions and received a honorary mention at the 13th Venice Architecture Biennale.

    Barbara Kinga Majewska is a musician, vocalist, performer, composer, publicist based in Warsaw. Graduated from Detmold Music Academy, Royal Academy of Music in Stockholm and The Fryderyk Chopin University of Music in Warsaw. Author of “Critical Vocal Guide” and “Manifesto of New Cantability in Contemporary Music”. Majewska performed in Konzerthaus Berlin, Nowy Teatr in Warsaw, National Opera in Warsaw, Museum of Modern Art in Warsaw, NOSPR in Katowice, Polish Radio Studios, Polin Museum in Warsaw, National Museum in Warsaw, Centre for Contemporary Art in Warsaw, Kunstwerk Köln, National Forum of Music in Wrocław and many others. She received SWR Composition Commission which premiered at Donaueschinger Musiktage 2017. In her work Majewska entwines a repertoire ranging from medieval to contemporary classical and pop with performance, text and video. She uses voice as a tool for researching non-musical contexts of the singing practice.

    Organised in collaboration with the Adam Mickiewicz Institute as part of the Polska Music programme.


    improvisation for tape recorder and analogue electronics

    Black Hall, 7.30 pm

    “In my live work, I want to always remember that sound is only a vibration of the air. I try to build some kind of sound environment or sound architecture with different strategies” – Jérôme Noetinger

    Born April 1966, in Marseille, Jérôme Noetinger discovered experimental music under the influence of the Déficit Des Années Antérieures in Caen. Composer/improviser/sound artist working with electroacoustic devices. Sometimes composing musique concrete in the studio, and performing improvised music using electroacoustic devices such as: the reel-to-reel tape recorder Revox B77 and magnetic tape, analogue synthesizers, mixing desks, speakers, microphones, various electronic household objects and home-made electronica. Performing both solo and in ensembles, and collaborating often, and touring extensively internationally. Jérôme is founder of Metamkine, a non-profit organisation dedicated to the distribution of improvised and electroacoustic music, member of editorial committee of  quarterly journal of contemporary sound, poetry and performance Revue & Corrigée. Active curator of experimental music concerts, conferences, exhibitions and screenings.

    Organized in collaboration with French Culture Institute in Vilnius.


    8.30 pm | Arts Printing House, Pocket Hall


    EYE GYMNASTICS Bitter Night

    The recently formed duo “Eye Gymnastics” consists of Gailė Griciūtė and Viktorija Damerell who experiment in the fields of music, voice, text and visual language. Their joint explorations combine hypnotic ero-irony lyrics with elements of baroque opera, pop beat, sensual speech and circuit bent toys’ infused music.

    Viktorija Damerell is an artist and curator working mainly in fields of sound, sculpture and text. She studied in Vilnius art academy and Oslo Metropolitan University and has MA in sculpture. In 2019 she has participated in the group show “Colleague from another tribe” in National Gallery of Art and together with Ona Juciūtė curated a group exhibition “Tail and Heads” at Contemporary Art Centre in Vilnius. At the moment she is participating in the alternative education program “Rupert” in Vilnius and is interested the possibilities of performativity within a variety of her artistic practices.

    Gailė Griciūtė is a composer, sound artist and improviser, graduated from The Sibelius Music Academy in Helsinki, Finland in 2011 and Lithuanian Academy of Music and Theatre in 2015, guest student at Städelschule in Frankfurt am Main in 2014 (Douglas Gordon film class). Gailė is a member of an art collective Technologies of Non|Self. Their works were shown in Germany, USA and Vietnam. Festivals and concert series where Gailė Griciūtė’s music, art projects and performances were presented include: Ahead, Jauna Muzika, Soundscape, NOA, Estonia (Lithuania), Counterflows (UK), Sound Art Festival (Kaliningrad), Unsound (Krakow), Labor Sonor (Berlin), Tectonics (Tel Aviv).

    25th April

    6.30 pm | Arts Printing House, Black Hall



    NEO HÜLCKER Voice-Breaking Concert
    compositions for the breaking-voice performer
    Black Hall, 6:30 pm

    Neo Hülcker’s voice is breaking. For this special unique and non-recurring time the composer and performer asked friendly composers to write pieces specifically for his voice break as a birthday present. These composers are Andrea Neumann, Edward Henderson, Jessie Marino, Stellan Veloce, Henry Wilde aka Antonia Baehr, Andy Ingamells, Owen Davis, Sam Andreae, Tomomi Adachi, Mathias Monrad Møller Christian Kesten, Isabell Spengler, Sabine Akiko Ahrendt and Neo Hülcker himself. In this concert at “Jauna Muzika” festival he will present a small collection of compositions as well as the piece “copy myself #2”, in which relations and body reactions to the performance of biographical sounds in public are brought into focus.

    Neo Hülcker (formerly known as Neele Hülcker) is a composer-performer whose work focuses on music as anthropological research in everyday life environments. His compositions evolve as situations, performance-installations, actions and interventions, and deal with digital subculture (like ASMR), childhood, human-animal-relations, queer practice and cultural hacking.

    Clockwork Giuseppe

    CLOCKWORK GIUSEPPE. For Modular Synthesizer and Black Hall

    Live set for modular synth and local multi-channel PA.

    8.30 pm

    Clockwork Giuseppe (Ignas Juzokas) is Lithuanian composer, techno producer and a prominent theater sound designer.


    7.30 pm | Arts Printing House, Pocket Hall

    Installation open 6:30 pm to 8:30 pm, concert 7:30 pm


    Paweł Romańczuk


    Installation and live performance with artist-made instruments

    Paweł Romańczuk is a musician, composer, instrument inventor and builder. Since 2006, he continues research in the field of unusual sound sources. Founder and leader of Małe Instrumenty (Small Instruments) ensemble, created to realize his own artistic needs. Builds his own instruments, sound constructions and installations. Besides his music work, he is focused on writing: in 2010, he wrote the very first study of the history of toy piano. His next book appeared in 2013 as the textbook Home Experiments with Musical Instruments published together with the album Małe Instrumenty “Samoróbka” (do-it-yourself), dedicated to education in the field of self-building experimental musical instruments. He composed music for the opening of the European Capital of Culture Wrocław 2016 and prepared a performance with over 200 musicians.

    He collaborated with: Pierre Bastien, Margaret Leng Tan, Chris Baldwin, Ghedalia Tazartes, Andrzej Załęski, Nao Nishihara, Robert Niziński, Paweł Czepułkowski, Piotr Kurek, Cinema Theater, Mariusz Wilczyński, Cezary Duchnowski, Paweł Hendrich, Sławomir Kupczak, Transfuzja (Bauer, Duchnowski, Orzechowski), Jean-Marc Zelwer, Księżyc, Svitlana Nianio, In-Between (Cezary Duchnowski, Kostas Georgakopulos), Sebastian Buczek, Joanna Bronisławska, Mateusz Rybicki, Za Siódmą Górą, Paul Preuser, Rafał Augystyn, Jacek Sotomski and others.

    Organised in collaboration with the Adam Mickiewicz Institute as part of the Polska Music programme.

    26th April

    18:30 | Arts Printing House, Pocket Hall


    HYPERDAWN (live)

    experimental electronics and song

    “From delicately magical to thumpingly raucous.” – Fluid Radio

    HYPERDAWN was formed in Salford in late 2016 by Vitalija Glovackytė and Michael Cutting. Originally under the name Kinder Meccano, the duo gained significant attention across the UK, EU and North America with performances in venues such as New York’s National Sawdust, Montreal’s Casa Del Popolo and Berlin’s Roter Salon, as well as broadcasts on NTS, Berlin Community Radio, Reform Radio and BBC Radio 3’s Late Junction. 2019 sees the launch of their debut album BLEACH.


    19:30 | Arts Printing House, Black Hall


    MONGRAM (live)

    Mantas Augustatis – percussion, electronics
    Rytis Koreniukas – analogue synths, electronics

    Mongram is a Vilnius duo playing free-electroacoustic-improvised music, with a leaning towards viscous soundscapes, primitivistic noise passages, minimalistic melodic material. The musicians believe that during the process of free playing verbal communication casts off its skin and appears as a mix of pure complex emotions, subliminal hoards and reactions towards the contemporary state of post-truth, which is also similar to the flood that is experienced by the members of the digitized society.


    TIESE (live)

    Antanas Dombrovskij and Vilius Šiaulys – electronics

    “Homogeneous abrasive sound arrays (akin to the noise idiom), here cut by the convulsions of glitch, there revealed by the melting mass of drone/ambient, defragmented samples of an unrecognizable song collapse into almost a cut-up-like matter; and all these processes are steered by improvisation. At the same time, however, there is a feeling of careful attention and moderate control. This kind of combination will grant the listener an adventurous sound experience in which the solid character is proportional to the mischievous instant whim of the elemental.” – Povilas Vaitkevičius

    Kala Sound System


    Since 2009 Kala Sound System is a “DIY” affair devoted to the development of an analogue, self-built sound system for playing dub, drone and dancehall music, sometimes within the audio-visual art contexts.

    27th April

    19:00 | Menų spaustuvė, Juodoji salė

    Gleb Maltsev

    GLEB MALTSEV. HH-hh-hh-hh-hh
    composition for chamber ensemble (1992)

    Performers will be announced before the concert.


    solo performance

    Kлавесинные дециметы с оригинальной поэзией на дореформенном Bолапюке – Глеб Мальцев

    “Harpsichord tentets with original poetry in the pre-reform Volapük language” – Gleb Maltsev

    Pichismo, or Piĉismo, is a Ukrainian punk rock band. They proclaim their own music genre called “espérantocore”. Pichismo was formed in January 1993 in Tsiurupynsk, in the south of Ukraine, by Gleb Maltsev (howls and ideology) and Roman “Malthus” Maltsev (guitar). Another guitarist Sergei Tarasevich joined a month later. In Esperanto, piĉismo is a word-play meaning both “a doctrine of the pitch” and “a doctrine of the vagina”. In July of the same year, the band already played its first concert at the Green Theatre in Kherson, with Micha Bachlaev (bass) and Kela (drums). Their first hardcore-punk demo “Subita Merdo” was recorded in October 1993 in a Kherson studio, thanks to the new musicians: bassist Dima Kireev and drummer Leks Kalenskiï. The following year Pichismo played with great success in Kherson and took part in the “New Waves ’94” festival in Yevpatoria, Crimea. Because of internal disagreements the band disintegrated, and in 1995 Gleb together with Malthus moved to Hola Prystan where, together with a local lo-fi band Hurry-Scurry they recorded four hempcore/green metal demos. For this occasion they were joined by Sania “Brumkatakamakakh“ Vostrikov (voice, guitar), Gena “Granbuslevar” Shishkin (drums) and Roman “Kublai-Khan” Grigorev (bass). Their concerts in Hola Prystan are remembered as “strong music concerts in unintelligible languages” (Gleb Matsev is an expert in the Esperanto and Volapük languages), “noisy music concerts”, “Chernobyl’s 10th anniversary”, “days of chaos” etc. Currently Gleb Matsev lives in Kaunas, appears solo in various underground contexts and sometimes even revives Pichismo for an occasional performances at the Esperanto Congresses.


    Matas Drukteinis

    composition for voice and recordings of electricity transformer
    Performed by Regimantas Mažulis – voice.

    In this piece the author connects two ever-contradicting poles – machine, thing, non-vitality and a human being with her live qualities. Our cultivated environment objectifies our existence. We are all creators, who leave behind cities, objects, codes… We are intensely making various machines and we feel dependent on them: it’s like a closed circle of existential frustration. However, perhaps we ourselves are only things, things who participate in a totally different, not-yet-comprehended eco-system? If God were Raimis from the garage at 31 Kauno street.

    Matas Drukteinis not only composes music for traditional instruments but is also looking for connections between music and other Art and Life spheres (for example, architecture). His music has some features of interdisciplinarity and performativity. The composer often employs the analysis of social, urban and existential themes.



    solo performance based on voice, objects and electronics

    With an interest in different topics such as human psychology and social behavior, Jūra is incarnating a character of a creator, performer and observer by experimenting with boundaries of liberation and (un)consciousness.

    Jūra Elena Šedytė is a composer and vocalist, who in the recent years has been turning her artistic focus onto performance practices using her voice and electronics; currently she lives and studies in Copenhagen, Denmark. Coming from the contemporary-classical music world, now she is investigating musical improvisation which leans towards a new approach and expands her creative methods to compose and perform music.

    Mantautas Krukauskas & Monika Zenkevičiūtė

    simultaneous performance (festival commission)

    In our times consciousness becomes individualised. If not so long ago a group of people with a certain cultural determination could be attributed an unquestionable set of values and practices, currently often even a person identifying herself with a particular ideology can be described as a free thinker who does not follow sets of rules blindly. Such contradictions highlight phenomena, when cliches of values collide with the 21st-century occurrences and experiences, such as the free movement of people, globalisation, anonymous freedom on the internet etc. Do traditions always cherish true eternal values or do they degenerate? Are novelties just another form of the same values? Probably as always temporality and eternity, superficiality and depth, idea and matter, determination and free choice balance and shift within us, because it is consciousness (psyche, anima) that creates the world we live in. This work explores this mirroring of consciousness and reality by employing live reflections of surrounding sound and noises, as well as performance elements in the context of quantum concert reality.

    Mantautas Krukauskas is a composer and sound artist, a teacher at the Department of Composition of the Lithuanian Academy of Music and Theatre, as well as Head of the Music Innovation Studies Centre. His compositions, including chamber music, audiovisual and sound art works, and music for theatre productions have been performed in Lithuania, Austria, Germany, France, Canada, USA, and other countries. Krukauskas has been actively involved in various organizational activities, including project coordination, event organizing, participation in international artistic, research and educational programmes. His interests comprise interdisciplinarity, creativity, music and media technologies, and a synergy of different aesthetic and cultural approaches.

    “In music I mostly care about the ‘present moment’, which I want to live as intensely as possible, both when I’m listening and creating. Simply speaking – it has to be fun!“ – Monika Zenkevičiūtė

    Monika Zenkevičiūtė (aka Monikaze) is a composer, a graduate of the Lithuanian Academy of Music and Theater, who performs in Lithuania, UK and Berlin. She also devotes her attention to instrumental and vocal composition, and music for theatre; she is active in various festivals and competitions, such as “Druskomanija”, “Operomanija”, “Yaga Gathering” among others.


    28th April

    16:00 | Arts Printing House, Black Hall

    16:00 | Arts Printing House, Pocket Hall



    improvised electronics

    Strøm is a Swiss duo by Gaudenz Badrutt and Christian Müller. The “Siamese twins” from Bienne improvise on various electronic devices, computer and sometimes a bass clarinet in digital state space. Deformed by their classical formation, they play the instruments in uncommon ways. Their conjoined bodies are traversed and sparked by the alternating current of two minds; their music takes an unpredictable course, now flowing gently, glowing like lava, then interrupted by the occasional eruption, allowing the flow to change its course according to the spatial possibilities presented and breaking the flow down into sub-streams of sounds, allowing it to swell back to its original size. Strøm exists since 2000, performed throughout Europe, at festivals like Norberg Festival (Sweden), Taktlos Bern (Switzerland), Transmediale 09 Berlin. Strøm produced a variety of theatre music, played in rock cellars, at art openings, in the scope of installationary open-air concerts and with various musicians, such as and has collaborated with Hans Koch, Clayton Thomas, Burkhard Beins, FM Einheit, Jacques Demierre, Urs Leimgruber, Norbert Möslang and others.

    The event is supported by the Swiss Arts Council Pro Helvetia

    17:00 | Arts Printing House, Black Hall

    Emilija Škarnulytė & Marius Salynas

    sound installation and performance (festival commission) 5 pm

    The gravitational waves originate from merging black holes. In August 2017, the LIGO and the Virgo detectors registered a new signal, formed from two neutron stars merging, that was called GW170817. Audioscape-GW170817 by Marius Salynas and Emilija Škarnulytė continues the topic of post-human mythology and fictional visual meditation about contemporary science from the future archeology perspective. Cosmic soundscapes immerse together with Škarnulytė’s video that consists of architecture envisioned by the artist through remote sensing 3D scans traversing an epic landscape of geography. Škarnulytė, performing as a siren herself (visiting the sound environment created by Marius Salynas) links the past and the future by exploring the memory of the Super-Kamiokande neutrino observatory in Japan, the Antimatter Factory, The Large Hadron Collider at CERN and The Duga radar. Audioscape-GW170817 evokes a feeling of contemplative anxiety provoked by the encounter with all that is larger than us.

    The style of Marius Salynas’ music seems to stem independently from his work in other genres (music for theatre, advertising, interdisciplinary projects, playing in a rock band, and his work as a music producer). According to music critic Jūratė Katinaitė, some of his works are more like sketches, in which he explores the expressive possibilities of various instruments, combinations of their timbres, and novel formal models. These works can be said to have the postminimalist line, representing characteristically short repetitive patterns, ‘paratonality’, and quasi-Baroque spirit. However, his main field of artistic work is related to the use of new digital technologies in the composition process. Most of his works are computer, electronic and electroacoustic pieces, distinguished by restrained experimentation and narrativity. At the same time he pursues an individual aesthetics of sound design and dynamism in the overall structure of a musical work.

    Emilija Škarnulytė is a nomadic visual artist, filmmaker. Between the fictitious and documentary, she works primarily with deep time, from cosmic and geologic to ecological and political: feeling out all kinds of nonhuman and posthuman scales, in the depths of space and time. Recent group exhibitions include Hyperobjects at Ballroom Marfa, Texas; Moving Stones at the Kadist Art Foundation, Paris; and the first Riga International Biennial of Contemporary Art; as well as a new commission for Bold Tendencies, London and a solo show at Künstlerhaus Bethanien in Berlin. She was recently nominated  the Future Generation Art Prize. Škarnulytė will represent Lithuania at the XXII Triennale di Milano Broken Nature and has upcoming shows at Toronto Biennial of Art, Toronto, Canada.

    Sapieha Palace, Antakalnio str. 17, Vilnius

    7.30 pm

    Ramūnas Motiekaitis


    retrospective portrait concert

    Mobile 4 (1996), revised version
    Mobile 6 (1996)
    Mobile 8 (1997), revised version
    Lento (2013)
    Mobile’s Colophon (2019)

    Performed by LMTA students of contemporary music programme (doc. Vykintas Baltakas): Greta Šimkutė, Klaudija Indriliūnaitė, Mėta Pelegrimaitė,
    Matas Samulionis, Simas Petkevičius, Kęstutis Zubavičius.
    Raimondas Sviackevičius, shakuhachi
    Raimondas Sviackevičius, accordion

    “Most likely it’s impossible to go back to times when everything was very fresh and acted upon boldly. The word ‘mobile’ (actually I don’t even know where it came from) then was associated with the most fragile ambient sounds and streams that were not fit for instrumental and concert environments. I didn’t know what to do with the instruments, I didn’t study their possibilities, I was comfortable with the sonic experience and sleek notation (or non-notation). I dwelled on Yamaha SY-85 and timpani tones (mobile 2, 6, 9), found cymbals at hand (mobile 3, 4, 5) and a choir (mobile 8). Later I was re-educated and I’m not sure if I became more false. Still, something has survived from those times while a thousand streams playfully lure in.” – Ramūnas Motiekaitis.

    Ramūnas Motiekaitis sang in the “Ąžuoliukas” boys’ choir since he was seven, later studied choir conducting in Vilnius Conservatoire, and between 1995 and 2005, studied composition at the Lithuanian and Norwegian music academies. Afterwards, he wrote a dissertation about the relation between Japanese and Western music and philosophy at Helsinki University. The Japanese Ministry of Science and Education (2008–2010) and the Canon Foundation (2013–2014) gave grants for his further professional training in Japan. On the basis of his dissertation Ramūnas published a study titled “Poetics of the Nameless Middle: Japan and the West in Philosophy and Music of the Twentieth Century”. From 2003 Ramūnas is a lecturer at Vilnius University, and from 2009, at the Lithuanian Academy of Music and Theatre.