for Flute, Clarinet, Piano, Violin, Violoncello

Tapestry – a polychromic fabric, was an inspiration for the title of this piece of music, which has a decorative and repetitive character. According to the image of weaver's art, the compositional principle consists of binding different attacks of sound in order to create a timbre, dynamics and rhythm polychromy in time. The percussive attacks of piano are orchestrated by emergence and then disappearance of other instruments. Gradually an accumulation and superposition of pulsations produce a complex rhythms and the role of each instrument is enriched. The absence of a harmonic movement results in a stable harmony that helps to hear neutral intervals (neither minor, nor major) made possible by to the use of micro-tons.

Performed by ensemble Court-Circuit.


For Euphonium & Electronics

Unusual expression of euphonium fulfills the need of an animalistic sounding.

Electronics part is created from the pre-recorded euphonium and vocal sounds treated with audio effects. In order to create a sacrificial dance atmosphere euphonium and electronics interfere with each other as two fighting creatures changing the balance of dominance.

Dedicated to Vianney Desplantes.

Performed by Vianney Desplantes.


For Flute (Piccolo and Alto), Clarinet (both in Bb and Bass), Piano, Violin, Alto, Cello.

This composition explores attacks of sounds, it’s continuity and motion connecting this material in a metaforic way with Acupuncture. In order to create musical ideas encoded within many levels of the music’s structure, I created the blueprint mapped from fibonacci numbers. This natural structure guides material which progress from the collective mass texture to the individual polyphonic lines for each instrument.

In memory of Dalia Baroniene the acupuncture master.

Commissioned by Gaida Festival and performed by Spectra Ensemble (conductor Filip Rathé) 26 October 2014.

Pulsus Flatus Vox

For Flute (both in C and Alto), Clarinet (both in Bb and Bass), Horn, Trumpet, Trombone.

The title Pulsus Flatus Vox (Latin – Rhythm Blow Voice) is derived from the use of musical material.

The form of the piece is binary and exploring opposed possibilities in reading my pre-composition key of the piece. It is founded on very slow pulsations according to prime numbers fulfilled by micro-tonal chromatic in different speed founded on irrational rhythms. The first part has a passive non directional character and the second plays with listeners' perception: while ears catch the rapid glissando of the horn, the silent and slow ascension through a micro-tonal scale in the low register multiplies itself and begins to dominate transforming a pure sound to a distortion.

Premiered at CENTQUATRE-PARIS, 5 July 2014 by Soloists of Ensemble Intercontemporain.

Plate Tectonics

For Accordion and Cello.

Plate Tectonics is a scientific theory describing the colossal motions of Earth's lithosphere. Plate Tectonics for accordion and cello is a meditation towards steady and distant, however unstoppable and constantly manifesting underground forces, shift in the direction of their movement and visible impact on the surface of the Earth. This meditation is an auditory experience perceptible in time.

The dramaturgy of this piece include metaphors of transposition, fission, impact, earthquake and the formation of the mountains.

Performed by Soloists of Moscow Contemporary Music Ensemble: Sergey Tchirkov (accordion) and Ilya Rubinstein (cello) at Moscow Philharmonic 3 October 2013.


For string orchestra (9 violins, 3 violas, 3 cellos, double-bass)

The inspiration of Chartres is an insight into Chartres Cathedral south rose, which depicts the Apocalypse according to Saint John. XIIIth century glass window is dominated by images of old-men holding string instruments. The Chartres key of the epitomized musical material is shaped to mirror the stained glass window and the visual form of the arc of the circle is embodied in the score. The musical parameters of this composition, which constantly follows the system focuses on the medieval proportions of ‘6:8:9:12’. The maximum instrumental divisi sounds for most of the time and expresses different layers, which are gradually joining and contrary to each other. Each of these layers is individual and generates a transformation in the timbre meanwhile each instrument, when entering produces a subtle supplement to the cluster, so creating monumental sonic blocks.

Performed by St. Christopher Chamber Orchestra, conductor Karolis Variakojis at Lithuanian National Gallery of Art, 5 May 2012, Druskomanija Festival.


For Ensemble: Flute, Trumpet, Mezzo Soprano, Harp, Double-bass



Je me suis réveillé sous l'azur de l'absence
Dans l'immense midi de la mélancolie
L'ortie des murs croulants boit le soleil des morts.


Où m'avez-vous conduit, mère aveugle, ô ma vie?
Dans quel enfer du souvenir où l'herbe pense,
où l'océan des temps cherche à tâtons ses bords?


Echo du précipice, appelle-moi! Démence,
Trempe des jaunes fleurs dans la source où je bois,
Mais que les jours passés se détachent de moi!


Vous qui m'avez créé, vous qui m'avez frappé,
Vous vers qui l'aloès, coeur des gouffres s'élance,
Père! à vos pieds meurtris trouverai-je la paix?


Milosz, 1915

Recorded by Collectif Warning at Conservatoire National Supérieur de Paris in 2011.