What's new this year?
Call for young composers!
Two weeks (optional: one week) of intensive masterclass with acclaimed Lithuanian composer, winner of the Lithuanian National Prize Anatolijus Šenderovas and workshop with distinguished Scottish performer and composer Garth Knox, whose works are being commissioned by such ensembles as the Kronos Quartet. Young composers will be residing at the Paliesius Manor, write pieces mainly for solo or ensembles of string instruments - violin, viola and/or cello, optionally for string instruments with piano. Selected successful works will be performed live during the closing concerts of the Ars SummerFest in Vilnius Town Hall and Paliesius Manor and recorded with professional studio equipment.
Selected successful compositions for violin, viola or cello solo or accompanied by piano will be included to concert repertoire of Vilnius Town Hall in 2019 and will be kindly asked to perform during the LITHUANIA CONCERT TOUR 2019 (for more information about the Lithuania Concert Tour 2019 please click here).
What is the place of residence?
Composers will be residing at the beautiful and isolated Paliesius Manor Hotel and Wellness centre located 112 km east from Vilnius. The masterclass price includes accommodation and meals 3 times per day at the exclusive Paliesius manor restaurant.
What is the plan of masterclass?
The masterclass will take place from 2nd to 13th of July:
July 2-13 (optional: July 9-13) - composing, working with Maestro Šenderovas, several meetings with musicians (experimenting, searching for best solutions, finding out what's possible for the instrument);
July 10 - workshop with Scottish violist and composer Garth Knox;
July 11-12 - selected finished compositions will be rehearsed for the final concert;
July 13 - final concert at the Paliesius Manor;
July 14 - final concert at the Vilnius Town Hall;
The organizers of this festival form a rather unusual situation for the festival dedicated to the instrumental genre - Residence for composers. What could this be?
Lately, creation of music is becoming more of an interaction between two entities - the composer and the computer. The sound of live musical instruments and direct communication with musicians has become a rarity. Creation of music gradually turns into an exceptional process, which is not necessarily linked to people who had direct impact on bringing music to life, giving it a breath, constantly changes, depending on the performers themselves and their attitudes towards the music they perform on the day of the performance. And the next day, new variables may appear, that may even have a contrast with the already formed attitude to the same music.
What is this process? What could the composers oversee while creating music? What is the preparation for performance of a new musical piece? Finally, what are the specifics of each musical instruments?
During the festival a special situation should take place where, composers and performers will have enough time and opportunity to interact, co-produce new pieces of work and finally, to publicly perform it. This is a unique school for young creators – to take a step back from computerized thinking, come closer to live sound, instrument, and people, in whose hands signs from piece of work come to life. An opportunity to communicate with live sounds and people who "decipher" those sounds to turn them into music. Also not forgetting the listeners who are rarely professionals of music and do not get into technological issues, but have a good sense of feeling...
For us, creators of music, this means a robust dramaturgy of the work, the ability to capture listener’s attention by proposing an appealing idea and language of a piece.
We suggest to pre-think a plan for small piece of violin, alto, cello (alone or in conjunction, with or without piano) and even a string quartet. Preferably to have a certain musical composition of the future work. Of course, you may start your composition upon arrival, but this may take a lot of time during the festival, which is quite limited. You may even bring along a piece of composition already created for the instruments listed. Our task would be, if necessary to adjust the composition while still in creation stage (or already created) present it to the performers and take part in preparation for performance. There, of course, will be certain issues raised that we will all attempt to solve together. And finally - the piece of work will be done and recorded. Composers will be able to dispose this recording. We will have opportunities for discussion - I think it would be beneficial for everyone.
The composer should master the principles of communicating with performers, be able to pick up on the edited parts of work, to recreate work that has already been created, prepare it for life of independence. The path of music - from creation to performance - is our main task.
Course languages: German, Lithuanian, Russian
Optional: English, Japanese
Course languages: English, French
Optional: Japanese, German, Lithuanian, Russian