Lithuanian folk music idiom, Oriental music and philosophy, Christian tradition are main sources that nourish creative energies of Eglė Sausanavičiūtė (b. 1963, also known as Eglesa Ramana). Since composition studies her music has been distinguished by romantic expresiveness and narrative, full of nuances musical language. Among her most popular works should be mentioned Ritual for three flutes (1988), Three Steps towards Divine Mother for organ (1994), Do Not Go Gently into the Night for viola solo (1995). Music for organ occupies a special place in her output - she has written works for organ solo and vocal-instrumental ensembles, which involve organ. Eglė Sausanavičiūtė currently resides and works in Germany.
Eglė Sausanavičiūtė (b.1963) has studied composition with Prof. Julius Juzeliūnas (since 1981) and with Bronius Kutavičius (1983-87) at the Lithuanian Academy of Music. In 1991 she has earned a postgraduate degree from The Centre of Christian Culture in Marijampolė. In 1992-93 Eglė Sausanavičiūtė has served as music editor of "7 meno dienos" weekly; in 1995-1997 she worked in the Lithuanian Composers' Union; and in 1996-97 she was director of the Lithuanian Music Information and Publishing Centre. The composer has participated in various summer courses and seminars: Czech Republic (1996), Sweden (1997), Fondation Royaumont, France (1999). Her works were performed in Lithuania, Latvia, Germany, Czech Republic, Italy, Finland, and Sweden. Eglė Sausanavičiūtė currently resides and works in Germany.
Lithuanian folk music idiom, and Oriental music and philosophy are two main sources that nourish creative energies of the composer. Her interest in modes and structures of Lithuanian folk songs is manifested in her works by the use of idiomatic intonations and metro-rhythmic patterns of sutartinės (old polyphonic songs). Her fascination with classic Indian ragas and Vedic chants is revealed in her search for new means of musical expression ("Ritual" for three flutes, "David priusquam liniretur" for soprano and chamber ensemble); she also combines modal and dodecaphonic techniques ("Do Not Go Gently into the Night" for viola solo). Music for organ occupies a special place in her output - she has written works for organ solo and vocal-instrumental ensembles, which involve organ.
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