Arvydas Malcys’ music stems from the idea of “poetics of music”. The composer sees originality not as a need to be different or “innovative”, but rather as an attempt to grasp his own roots and origins of different phenomena surrounding him. The composer is not interested in contemporary art tendencies proclaiming elitism, distance and abstraction. He does not attempt to create a “new listener”. On the contrary, he turns to those realms, which the surrounding counterculture tends to annihilate. His artistic language is undisguised and understandable; it ignores vague and distorted rules of artistic games. The composer does not want to turn his music into mathematics or grammar, he seeks his music to address the most important issues: human passion, struggle, rise and fall, love, death and friendship, loneliness, evanescence and eternity. “In my music the listener should feel a certain cultural milieu, and discern the commonalities between musical signs and accents. That shouldn’t make him obliged or distressed that he lacks knowledge or understanding, or make him come to conclusion – if there is something I don’t understand, that means it is art...”, says the composer.
Impetus - Eccentric bolero
zoom in: new music from lithuania - Blackthorn Eyes
Land of the Disobedient - Land of the Disobedient
Spirit of a Place - Vox clamantis in deserto
Arvydas Malcys (b.1957) graduated twice from the Lithuanian Academy of Music, receiving diplomas both in cello playing (under Prof. Domas Svirskis) in 1980, and composition (under Prof. Vytautas Laurušas) in 1989. During the years of latter studies he has also attended lectures on polyphony with Osvaldas Balakauskas and modern harmony and analysis with Rimantas Janeliauskas.
His work as a composer is coequal to his experience as a cello player. Arvydas Malcys has premiered quite a few of new works by Lithuanian composers as a soloist and with different ensembles. Since 1979 he has been playing the cello with the Lithuanian National Symphony Orchestra. He was a member of the St. Christopher Chamber Orchestra of Vilnius Municipality from 1995 to 1997, and the Vilnius New Music Ensemble from 1995 to 2001, touring many countries around the globe with these groups.
The works by Arvydas Malcys have been showcased at the international festivals Gaida (1999, 2000, 2003, 2004, 2005) and Jauna muzika (1996, 1997, 2001) in Vilnius, Iš arti (2001, 2006, 2008, 2012) in Kaunas, Ghent Contemporary Music Festival (1999), Ravenna Festival (2002), International Review of Composers in Belgrade (2003, 2004), ISCM World Music Days in Ljubljana (2003), Sinfonia Baltica Competition in Riga (2001, 2004), Kremlin Christmas Music Festival in Moscow (2007), 21 ct. Perspectives Festival in Yerevan (2007), European Christmas in Riga (2008), Two Days and Two Nights of New Music in Odessa (2009, 2010, 2012), 9th Contemporary Music Festival Europe-Asia in Kazan (2009), Kiev Music Fest (2009, 2010, 2016), Kammermusikfest Lockenhaus (2010), The First International Gallery of Actual Music Festival in Moscow (2011), Gogolfest in Kiev (2012), Euro-Mediterranean Youth Music Expo in Cyprus (2012), Yuri Bashmet Festival in Moscow (2013), Schleswig-Holstein Festival (2013), Moscow Autumn (2014, 2015), Silk Road Arts Festival in Xi'an (China, 2015), Sochi International Arts Festival (Russia, 2015, 2016), Echternach Music Festival (Luxembourg, 2016), as well as music festivals in Ankara, Se¬oul, Berlin, Leipzig, Rotterdam, Haifa and Costa Rica. His works were performed in thirty coun¬tries in Europe, Asia, North and South America. In 2004 he was awarded 3rd Prize for the symphonic composition "Only Heaven Above Us" at the Sinfonia Baltica International Composers' Competition in Riga, in 2005 - 1st Prize for the Concerto for piano and chamber orchestra at the Juozas Karosas Composers' Competition in Vilnius, in 2006 - Conductor's Prize for the composition "In memoriam" for string orchestra at the composers' competition "Mozart 250" in Moscow, in 2008 - 1st Prize for the composition "Saxchord" for tenor saxophone and string quartet at the Juozas Karosas Composers' Competition. In 2007 his "Cantus sirenum" was chosen as a recommended work at the Haifa International Flute Festival, and in 2009 his "Narcissus" was included in the obligatory program at the Max Rostal viola competition in Berlin. Twenty CDs featuring Malcys works and eleven portrait CDs have been released to date.
Arvydas Malcys has collaborated with a number of renowned performers including David Geringas, Yuri Bashmet, Sergei Krylov, Camilla Hoitenga, Mark Grauwels, Roger Arve Vigulf, Denis Shapovalov, Boris Andrianov, Alexander Ramm, Hartmut Rohde, Alexander Zemtsov, Maria Fedotova, Alena Baeva, Bohdana Pivnenko, Guoda Gedvilaitė, Sergejus Okruško, Liudas Mockūnas, Raimondas Sviackevičius, as well as conductors Mstislav Rostropovich, Misha Rakhlevsky, Denis Vlasenko, Olari Elts, Hendrik Vestmann, Andris Nelsons, Damian Iorio, Daniel Gazon, Volodimir Sirenko, Valery Matiukhin, Robertas Šervenikas, Juozas Domarkas, Modestas Pitrėnas, Saulius Sondeckis, Gintaras Rinkevičius, Modestas Barkauskas, Vytautas Lukočius, Donatas Katkus, Martynas Stakionis.
Arvydas Malcys' works were performed by various orchestras including Armenian Philharmonic Orchestra, Latvian National Symphony Orchestra, Baden-Baden Philharmonic Orchestra, Leipzig MDR Symphony Orchestra, Meiningen Symphony Orchestra, Novaya Rossiya Symphony Orchestra, Kazan State Symphony Orchestra, Ljubljana Philharmonic Chamber Orchestra, Belgrade Philharmonic Chamber Orchestra, Berlin Camerata, Moscow Kremlin Chamber Orchestra, Chamber Orchestra of Moscow Soloists, Moscow Virtuosi, Kymi Sinfonietta, Vestfold Sinfonietta, Solistes de Sofia, Kiev Kamerata, Leopoldinum Chamber Orchestra, Lithuanian National Symphony Orchestra, Lithuanian State Symphony Orchestra, Lithuanian Chamber Orchestra, Kaunas Symphony Orchestra, St. Christopher Chamber Orchestra, Klaipėda Chamber Orchestra, among others.
Instrumental music makes up the most significant part of Arvydas Malcys' creative output. In a number of his works for various instrumental settings, the tendencies of absolute music fit well with nearly expressionistic imagery and sound poetry reminiscent of the impressionism; a feel for neoclassical forms with aleatory and a penchant for colourful textures and specific sound effects. Having a discriminating ear, he takes special interest in timbre possibilities of different instruments in various registers of their range. Well familiar with peculiarities of instruments, especially strings, Arvydas Malcys manipulates manifold expressional possibilities of individual instruments and their combinations, and thereby shapes them to serve as strongly-flavoured personifications, well-nigh "theatrical" characters. His music is fraught with contrast, grotesque and irony.
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