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 from the Kaunas J. Gruodis Conservatory in 1975, and 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.
The works by Arvydas Malcys have been showcased at the international festivals Gaida, Jauna muzika, Iš arti, Ghent Contemporary Music Festival, Ravenna Festival, International Review of Composers in Belgrade, ISCM World Music Days in Ljubljana, Sinfonia Baltica Competition in Riga, Kremlin Christmas Music Festival in Moscow, 21 ct. Perspectives Festival in Yerevan, Two Days and Two Nights of New Music in Odessa, Contemporary Music Festival Europe-Asia in Kazan, Kiev Music Fest, Kammermusikfest Lockenhaus, International Gallery of Actual Music Festival in Moscow, Gogolfest in Kiev, Euro-Mediterranean Music Expo in Cyprus, Schleswig-Holstein Festival, Usedom Music Festival, Moscow Autumn, Silk Road Arts Festival in Xi'an (China), Echternach Music Festival (Luxembourg), as well as music festivals in Tel Aviv, Ankara, Seoul, Berlin, Leipzig, Rotterdam, Haifa and Costa Rica.
His works were performed in thirty countries in Europe, Asia, North and South America, including the most prestigious concert venues such as New York Carnegie Hall, Moscow P. Tchaikovsky Philharmonic, Moscow Conservatory Great Hall, Paris Théâtre des Champs-Élysées, Shanghai Symphony Hall.
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.
Over twenty CDs featuring Malcys' works and thirteen portrait CDs have been released to date. The composer is a winner of the Lithuanian Government Prize for Culture and Art.
Arvydas Malcys has collaborated with a number of renowned performers including Sergei Krylov, David Geringas, Yuri Bashmet, Camilla Hoitenga, Mark Grauwels, Denis Shapovalov, Karina Georgian, Boris Andrianov, Alexander Ramm, Hartmut Rohde, Alexander Zemtsov, Alena Baeva, Maria Fedotova, Maria Vlasova, as well as conductors Mstislav Rostropovich, Misha Rakhlevsky, Andres Mustonen, Olari Elts, Hendrik Vestmann, Andris Nelsons, Damian Iorio, Daniel Gazon, Valentin Uriupin, and great many Lithuanian performers and conductors.
Arvydas Malcys' works were performed by over thirty symphony and chamber orchestras including Armenian Philharmonic Symphony Orchestra, Latvian National Symphony Orchestra, Baden-Baden Philharmonic Symphony Orchestra, Leipzig MDR Symphony Orchestra, Meiningen Symphony Orchestra, Novaya Rossiya Symphony Orchestra, Kazan State Symphony Orchestra, Ljubljana Philharmonic Chamber Orchestra, Belgrade Philharmonic Chamber Orchestra, Moscow Kremlin Chamber Orchestra, Moscow Soloists, Moscow Virtuosi, Israel Chamber Orchestra, Berlin Camerata, Hamburg Camerata, Kiev Camerata, as well as all professional orchestras from Lithuania.
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, 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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