Music Information Centre Lithuania – MICLCD097
Horizons has been a long time in the making, and the artist has described it as a ‘Sisyphean process’, which, at the end, ‘only strengthened the joy of accomplishment’. The five compositions span from between 2006 and 2015. Martinaitytė’s biography is long and detailed, and covers the complex and challenging circumstances surrounding the composer’s journey to its completion. But an abridged rendering would focus on the fact that the pieces here are from what she terms the decade which represents the ‘blue’ period of her career, and that the album as a whole represents her explorations of ‘the dichotomies between proximity and distance, nearing and departing’.
It’s perhaps worth quoting from the accompanying notes at length, in order to demonstrate the full expanse of the album’s scope: ‘With this album and the individual works on it the author tells an absorbing emotional narrative. She begins with a larger picture – a multi-layered, timbrally rich sonic expression of the faraway landscapes (Horizons, 2013; The Blue of Distance, 2010); she then moves on towards her subjective relationship with the untouchable distance (Thousand Doors to the World, 2009; Completely Embraced by the Beauty of Emptiness, 2006); finally, she reaches the state of inner calm (Serenity Diptychs, 2015). Acoustically speaking, the concept of nearing is presented through instrumentation – she begins with larger orchestral and choral works, and finishes with a refined, chamber sound.’
The title track sets the album’s tone: ‘Horizons’ begins expansively, a vast, expansive sonic vista stretching for some seventeen and a half minutes and leading the listener through moments of grace and tranquillity punctuated by moments of drama and tension. The choral swell of ‘The Blue of Distance’ resonates deep and strikes a spiritual chord, albeit in a vague, abstract sense, touching as it does the corners of the subconscious. Bursts of vaporous ambience spar against distant echoes of notes. The drama surges and sweeps on ‘Thousand Doors’, a tempest of brass and strings mounting and enveloping the listener. While Martinaitytė is a master of the subtle and the delicate, her compositions equally demonstrate her capacity for the bold, with passages of grandeur and turbulence.
Contemporary classical seems to have been relegated to big-budget film scores, but Žibuoklė Martinaitytė is unquestionably an exponent of 21st century classical music. More to the point, Horizons is a powerful orchestral work which transcends genre boundaries and interacts on many levels.