Composition for flute solo recorded by Justinas Mačys. Sound engineer Vytenis Gadliauskas.

Incantation Of The Freezing Haze (2013) for flute solo

...when raindrops touch the face...

...the sunlight shining through my bedroom window is distorted by solitary raindrop tuplets... as close as two summers ago, on a day like this, I would have gone outside to gulp in the warmth and indulge in the face-caressing drops of freshness, which with each new contact with the skin awakens new neuron synapses that, like a wormhole, connects past, present and future memories, experiences and hopes to regain the time, which is lost in the timelessness of quarantine, thus progressively drowning me into a Proustian introspection...

Performed at Vilnius City Hall by "St. Christopher Chamber Orchestra", Conductor Modestas Barkauskas. 
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...kai lietaus lašai paliečia viedą...

...pro miegamojo langą sklindančią saulės šviesą sudrumsčia pavienės šiltų lietaus lašų sinkopės... juk dar užpraeitą vasarą tokiu metu būčiau ėjęs į lauką gerti šilumos ir mėgautis veidą glostančio gaivalo lašeliais, kurių kiekvienas prisiliesdamas prie odos sužadina neuronų jungtis, kurios lyg kirmgrauža sujungia esamus, buvusius ir būsimus prisiminimus, potyrius ir viltis iš naujo atrasti šį karantino belaikybėje prarastą laiką, taip vis labiau gramzdindami į Proustišką instrospekciją...

Atlieka "Šv. Kristoforo" kamerinis orkestras, dirigentas Modestas Barkauskas. Vilniaus Miesto Rotušė.

...kai lietaus lašai paliečia veidą... (2021)[when raindrops touch the face] for string orchestra

Performed by Gerald Preinfalk (saxophone) and Dimitrios Polisoidis (viola) at Vilnius Arts Printing House, Nov. 16, 2022

Programme notes:

There was a study published in 2021, which reveals that the majority of humans are potentially capable of mastering echolocation. Just like bats, or whales, by clicking their tongue, snapping their fingers, or stomping their cane, blind people are able to learn to navigate the environment, recognize the location and size of the surrounding objects, or avoid obstacles. All they need to do is learn to interpret the sound that reflects from different surfaces.
I would really love to discover a similar dormant ability within myself, which would help me navigating through my own blindness. Only not a physical, but that other one, which is so difficult to notice due to the fact of its own existence… the one that prevents us from appreciating the fragility of the moment, enjoying the sunshine falling on the page of a book, a gust of a gentle breeze on a hot summer day, or a meaningless sound that occasionally shivers the silence… Perhaps, if I gained the ability to see, I would be able to recover all of this from the non-existent time, where it was securely stored by that other “me” from an hour ago…

confessions to the non-existent self (2022) for Alto Saxophone and Viola

Splinters of Broken Silence (2018), awarded the third prize in competition SheLives Budapest Prize 2020. Premiered in Budapest Music Center on January 23rd 2023, recorded on live performance at Alte Schmiede (Vienna) on January 25th 2025. Performer: Irén Seleljo

Splinters Of Broken Silence (2018) for piano

Composed for and performed by Agnė Dūkštaitė-Malūkienė at LMTA Grand Hall as a part of Doctoral Research "Complex Control of Accordion's Bellows: The Late Twentieth through the Early Twenty-First Century". Decembrer 19th, 2023.

Wind is a Doppleganger (for accordion solo) [2023]

Dissipating Fragrances performed by Džeraldas Bidva (violin) and Raimondas Sviackevičius (accordion) at Art Printing House, Vilnius, on July 1st, 2015

Dissipating Fragrances for violin and accordion (2015)

Recorded by Lithuanian National Symphony Orchestra (cond. Juozas Domarkas) and State Choir "Vilnius" in the National Philharmonic Hall. Sound Engineer Arūnas Zujus.

Winter Calligraphies for symphony orchestra and mixed choir (2016). Quite a few aspects of my interest in Japanese culture combine in this composition. It’s musical material was influenced by a coincidence that in 2016 we commemorate 20 years since the death of Toru Takemitsu, who happens to be one of my favorite composers. That encouraged my search of particular common attributes between distinct sound quality and modal structures found in Takemitsu’s works and my way of musical thinking and principles of articulation of sound quality. Three Japanese waka poems find their place within this composition. These poems are taken from a classical Japanese anthology of one hundred Japanese waka by one hundred poets  (Ogura Hyakunin Isshu), which consists from verses by poets from the 9th and 10th centuries. All three poems (no. 31, 29, 28) are united by winter, as their main subject. Within the composition they serve as three different calligraphies that depict different apprehensions caused by the same image. While working with these texts I put my biggest effort to deal with their meaning rather than the syllabic structures. However, their meaning cannot be fully transmitted to the Western public due to a language barrier. Therefore, I tried to depict each keyword of these poems into specific textural shapes according to the rhetoric principles of music.

Winter Calligraphies (2016) for symphony orchestra and Mixed choir (Žiemos kaligrafijos)

Brush Strokes. Ink on Paper (2017) for flute, clarinet, violin, viola, violoncello and piano

Performers: Vytautas Oškinis (flutes), Raimondas Sviackevičius, Agnė Rimgailaitė, Tadas Motiečius, Agnė Dūkštaitė, Tautvydas Malūkas (accordions). Live recording at Jonas Mekas visual arts center in Vilnius.

About the piece:
This composition is takes its title from the famous video game “Hellblade: Senua’s Sacrifice” developed by “Ninja Theory” in 2017. The main protagonist of the game is a Celtic woman called Senua. She comes home from the exile and finds her husband killed by the Norsemen and his soul sacrificed to Hel, their goddess of the underworld. She travels through the underworld to liberate his soul. The key aspect of Senua’s character is that she suffers from clinical psychosis. This fact becomes the core of game’s design, as the main goal of the game is to present the experience of a person suffering from this severe mental disease. Senua is constantly hearing voices in her head, that are the only guides (and also distractors) through her journey, her perception of her surroundings is constantly changing and the only way she can advance in her quest is by solving environmental puzzles, by looking at usual objects from various perspectives and constructing runic symbols in her mind.
This piece of music is my attempt to immerse the listener into a constantly changing soundscape of sonic clues, runic symbols and illusion of purposefulness, as the boundaries between real and surreal had never existed… It consists of four promenades for flute, five glyphs for ensemble and an epilogue. Each glyph represents a runic symbol that is being drawn in acoustic space from different perspectives and promenades – travel between them.

Senua's Dream (2018) for flute, Norwegian Overtone flute, and five accordions [Binaural recording]

Composition for symphony orchestra by Andrius Maslekovas. Composed in 2012, recorded by Lithuanian National Symphony Orchestra (cond. Juozas Domarkas)

Sand Paintings (2012) for symphony orchestra

"here-there-nowhere (ode for joy)" . Text by Jurga Ivanauskaitė. Performed by Menno Koller (baritone) and Austėja Valušytė (piano) at Kaunas State Philharmonic.  English Translation below:

I „Here“
(„Morning. Another Incarnation“)

When resurrected from the dead
I would loiter around at the seaside,
I would pick
my pockets full of seashells,
I’d listen and listen
to the roar of waves, 
until I’d finally forget,
the sound of soil rapping
at the lid of my coffin.


II „There“
There is a good place, where we are absent,
fish There have tongues,
therefore they make French kisses,
the birds There are not only flying,
they also play pianos – 
Chopin, Beethoven or Yesterday,
centipedes There smoke pipes
while sitting on hallucinogenic mushrooms,
The people There are deliriously happy
and avidly cull every day,
and everything is over-vegetated There during the day,
nights flourish like weed. 


III „Nowhere“
NOWHERE is not a territory,
but a hole between two words,
a gap between two heartbeats,
a short blink when
eyelashes touch,
so that eyeballs don’t parch
from a dazzling reality.
NOWHERE neither begins nor ends, 
does not have any contour, 
does not submit to descriptions,
but buzzes behind the ear 
like a giant bee, larger
than a thousand galaxies.
NOWHERE is where I fall when I
sweetly desire to disappear,
or while being strangled
by the beauty of spring
most bitterly
I’m afraid to die…

čia - ten - niekur (odė džiaugsmui)[2019] for baritone and piano

Rain Song (Esho Shyamolo Sundaro), performed by ensemble "Melos"

Text by Rabindranath Tagore

Esho Shyamolo Sundaro
Ano Tabo Tapohora Trishahora Shangoshudha.
Birahini Chahiya Ache Akashe…

English translation by Sreechandra Banerjee:

Come pleasant beauty
Bring your pleasant companionship for quenching thirst and heat.
Lovelorn beloved (Earth) gazing at the sky with longing looks…

Rain Song (Esho Shyamolo Sundaro) [2019] for female vocal ensemble

The ever-shifting shapes, reflecting on the surface…they fall into my verses…I nail them to my wall, which transforms into a burthen – a not yet comprehended story, which drones and drowns the clangours of dead gods…all this tightly fitted into contours drawn by light and sea…

This composition was awarded the third prize at Future Symphony competition 2020. Performed by Future Symphony orchestra, conductor Adomas Morkūnas-Budrys.

Waters-Reflections-Haiku [2020] for small symphony orchestra

It is extremely rare for an artist to combine several seemingly different artistic activities as successfully as did Lithuanian composer and painter Mikalojus-Konstantinas Čiurlionis. His visual and musical works represent a unique kind of cohesion. I have always considered his pictorial imaginary worlds to be the pinnacle of Lithuanian art, thus this composition represents my reflection of a few nocturnal scenes of Čiurlionis‘s paintings. Here we find the controversy of this idea, as it is the visual art of Čiurlionis that depicts his musical ideas, he painted a number of fugues, sonatas and even symphonies. This composition, in the meantime, is my attempt to permute the nocturnal images from Čiurlionis’s paintings, as well physical and (often unstable) emotional gestures of his paintbrush into the auditory domain. It is an attempt to acoustically re-paint his brush-born nocturnal canvasses, which begin to turn into music at a break of dawn...

Recorded at MiSC by "Twenty Fingers Duo" – Lora Kmieliauskaitė (Violin) and Arnas Kmieliauskas (Cello), sound engineer Julius Aglinskas

Andrius Maslekovas

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