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Pradžios Ir Pabaigos Knyga = The Book Of The Beginning And The End

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Pradžios Ir Pabaigos Knyga = The Book Of The Beginning And The End --- 2021

The oeuvre of composer Algirdas Martinaitis (b. 1950) stands out as a truly authentic representation of Lithuanian identity in music. He made his debut in the 1980s, the last decade of the oppressive Soviet regime, his compositions reflecting on some of the key contemporary artistic ideas, such as a neo-romantic worldview, a reverent attitude toward nature and life, ecological concerns, and a dejection due to ancient rustic traditions gradually being lost. He, like certain other composers of his generation, had earned the name of young neo-romantics for the similar themes they tended to pursue and, most remarkably, for their resigned melancholy which, they thought, was the most appropriate artistic response to the realities of the stagnant Soviet times impeding their dreams and aspirations. Just as the world consists of four basic elements (water, earth, air, re), Martinaitis’ music stems from four spiritual elements, or modi: the lyricism of nature, Christian faith, sarcasm, and sustainability. Sometimes, all four appear in a single piece. The current recording recreates, in part, a 1996 performance at the National Philharmonic of Lithuania dedicated to Martinaitis’ music written between 1993 and 1996 and presented, for that occasion, under the title The Book of the Beginning and the End. This was a time of great transformation in the composer’s worldview prompted by a particularly appalling experience when his son almost died after a brutal assault in the street. Following the shocking incident, Martinaitis decisively chose the path of a deeply religious and humble Christian. The music in this compilation is branded with the motifs of apocalypse, repentance, obedience, and mercy. While using sound metaphors to underline the essential meaning of Christian symbols, the composer never really abandons his sarcastic alter ego. “All of our imagined talents are negligible, just like the mission of an artist. Sometimes I ‘slaughter’ them in the most obvious manner to reject any hint of self-importance. I simply ‘cut down’ my piece after briefly reaching its highest point. If a piece of music is the way, then there’s always a wayside. One has to accept this.”