Tapisserie
Tapisserie (2015) for Flute, Clarinet, Piano, Violin, Violoncello.
Performed by Court-Circuit ensemble conducted by David Hurpeau.
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. Piano has a decisive role and it’s strings are poetically linked to a frame on which the tapestry fabric holds. 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.
Watch a video of combined score and audio of Tapisserie on Score Follower.
Tapisserie represented Lithuania both in World Music Days (Beijing, 2018) and International Rostrum of Composers (Palermo, 2017) and was selected for the 26th International Review of Composers (Belgrade, 2017) and appeared in the list of the 15 best Lithuanian compositions of the year 2015, competition organised by Lithuanian Composer’s Union.
Tapisserie was performed by 15 different ensembles:
2024.09.25
Ensemble Recherche concert Kunst/Zukunft at Ensemblehaus Freiburg (DE).
2024.05.05
Ensemble for New Music Tallinn (cond. Arash Yazdani) recording session in Tallinn (EE).
2023.10.30
Lithuanian Ensemble Network conducted by Vykintas Baltakas, at the Bavarian Academy of Fine Arts in Munich (DE).
2023.04.28
Ensemble XXI. jahrhundert cond. Peter Burwik at Wiener Konzerthaus (AT).
2022.07.21
Ensemble der/gelbe/klang, cond. Vykintas Baltakas, at Schwere Reiter, Munich (DE)
2022.04.15
Ensemble Polymorphia of Florida State University (USA).
2021.11.04
Ensemble Polymorphia of Florida State University (USA)
2021.10.11
Ensemble for New Music Tallinn (cond. Arash Yazdani), MusicOlomouc festival in Olomouc, Czech Republic.
2021.07.15
Ensemble Ars ad Hoc , at Convento São Francisco in Coimbra, Portugal.
2020.10.01
Musica Humana historical performance ensemble conducted by Robertas Beinaris at Lithuanian Academy of Music, Vilnius (LT)
2019.10.01
Spółdzielnia Muzyczna contemporary music ensemble conducted by Mateusz Rusowicz during the festival Sacrum Profanum, Cracow, (PL)
2018.10.15
Ithaca College Contemporary Chamber Ensemble conducted by Kin Szeto at Ithaca College, NY, (USA)
2018.05.27
Moscow Contemporary Music Ensemble concert at Sichuan Conservatory of Music Chengdu, China.
2018.05.25
Moscow Contemporary Music Ensemble concert The Streaming World at ISCM World Music Days, Beijing, China.
2017.10.09
Construction Site conducted by Rade Pejčić concert Reflections at the 26th International Review of Composers, Belgrade, Serbia.
2017.05.20
Recording submitted by Lithuania National Radio for International Rostrum of Composers in Palermo, Italy.
2016.10.06
OSSIA ensemble conducted by Vicky Shin at Eastman School of Music, New York state, USA.
2016.06.04
Platypus ensemble conducted by Jaime Wolfson, concert Im Banne der Anderen IV Mode/Textur at Echoraum, Vienna, Austria.
2015.10.27
Lithuanian Ensemble Network conducted by Vykintas Baltakas, concert Global LT at Gaida festival, Vilnius, Lithuania.
2015.05.05
Court-Circuit ensemble conducted by David Hurpeau, premiere in France.
Reviews
Her works are woven with cold and white polyphonies. Like Tapisserie (2015), which presents itself as a complex web of lines stretched to the extreme, as if stretched towards an impossible resolution, but whose relationships and discrepancies – a heritage of medieval music? – are governed by internal mathematics.
Among other pieces featured in the CD, Repečkaitė’s Tapisserie stands out; by the way, it has been selected for the ISCM World New Music Days in Beijing this year. A young composer who lives in Paris and is rapidly developing an international career thoroughly, to the detail computes the musical construction, in which nothing is accidental, and therefore when listening, a clear structure and process are always heard. Tapisserie for flute, clarinet, violin, cello, and piano (ensemble Court-Circuit) depicts a pattern of a fabric, starting with sharp piano phrases, while pointillistically enveloping it with other instruments. This music also reminds of acupuncture as if it was stabbing something with sonic needles or a fierce debate in which the voices of instruments constantly interrupt each other.
Raimonda Žiūkaitė, composer and musicologist.
“Tiesa, spindulių būta: koncertą pradėjęs Justinos Repečkaitės „Tapisserie“ („Gobelenas“, 2014) pagaviai įtraukė į fleitos, klarneto, fortepijono, smuiko ir violončelės garsais audžiamą gobeleną. Jaunos Paryžiuje gyvenančios kompozitorės kūryboje tai ne pirmas atvejis, kai muzikinė medžiaga yra inspiruota ar turinti aiškias nuorodas į išorinius patyrimus: tai ir kūno pojūčiai kūrinyje „Accupuncture“ (2014), ir mokslinė teorija apie Žemės litosferos plokščių judėjimą „Plate tectonics“ (2013), ir vizualūs įspūdžiai – Šartro katedros rozetės muzikinė refleksija „Chartres“ (2012). Klausant „Tapisserie“ buvo įdomu sekti susipinančias ir tarpusavyje persidengiančias tembrų linijas, dominuojant vis kitam instrumentui, o fortepijonui aštriais dūriais dygsniuojant besiformuojantį audinį. Kūrinio proceso dinamika grįsta tembriniu ir ritminiu intensyvėjimu (besiplėtojanti poliritmika) bei dinaminiais niuansais – nelyg spalvų, raštų ir ryškumo žaisme, o harmoninis skambesys išlieka statiškas, atliepdamas vizualiojo meno darbams būdingą vieną, vientisą emocinį įvaizdį bei medžiagišką tvirtumą.”
7 Art Days after Tapisserie performance by Lithuanian Ensemble Network conducted by Vykintas Baltakas, concert Global LT at Gaida festival, Vilnius, Lithuania. 2015.10.27
.. už muzikinės medžiagos vientisumą – Justinos Repečkaitės Tapisserie, instrumentiniam ansambliui
Puikiai techniškai suręstas opusas, turintis turbūt viską, ko reikia šiuolaikiniam kūriniui – išmąstyta visuma, suvaldyta struktūra, nepriekaištinga logika, kaip laikrodis suderinta visus elementus sukabinanti mechanika, bendras garsinės medžiagos, o ypač ritmo ir tembro homogeniškumas. Kūrinio idėja – veikiausiai audimas, kaip galima spręsti iš pavadinimo, bet turi kažką panašaus į užstrigusio vinilinio disko ritmiką. Programiškumas čia ne tiesioginis, paraidinis, o gestinis, beveik juslinis. Šis užstrigimas ir kuria nuoseklią įtampą, pasiekdamas kulminaciją, išskysdamas ir laipsniškai subliūkšdamas. Toks vieno judesio modelis kuria organišką vientisumą, kuriame visi elementai atranda savo vietą ir paaiškinimą. O harmonija, šalia to, kelia dar ir estetinį pasitenkinimą. Kompozicinės technikos įvaldymas tikrai fantastiškas.
Albums
Zoom In 12: New Art Music from Lithuania (2018) Recording: Court-Circuit ensemble cond. David Hurpeau.
