This piece is originally written as a soundtrack for choir-opera Lustikud (dir. Kamilė Gudmonaitė), premiered in 2020, Tallinn, Vaba Lava.

'A Half Year Ago I Flew To Italy'  is based on a text by Teklė Kavtaradzė which tells a story about the situation when you're lost on the first night in Rome and by trying to find where your hotel is, you approach the street, that's not even on the map... Maybe you're no longer on the map too?

Performed by:
Rakelė Chijenaitė - violin
Medeinė Mickevičiūtė - piano

Recorded by Edmundas Seilius

A Half Year Ago I Flew To Italy

As If It Had Been Here
for bass flute and electronics
2021


Sometimes we hear or see things that don’t exist. Video or audio mirages grab our attention, we perceive the non-existent. We listen and hear sounds that do not exist, we hear the vibrations of the air that do not exist. All of this is only an illusion created with the help of our experience and mind that seems real to us.
The structure and dynamics of this work were determined by its future performer. When he was given the opportunity to listen to a noise recording of the city, he was asked to indicate in which places he would hear human or natural sounds (which were not included in the recording).

Performed by Kristupas Gikas

As If It Had Been Here

sub-silence II
for baritone saxophone and tuba

Silence falls as the intense sound around us suddenly stops. Only after a while do we begin to hear the silent, nearby events, and later, in the distance, at the horizon, echoing. This work is a process of listening to what is very far away, as if one were sitting on the roadside after a column of heavy vehicles has just passed, or in the city after the usual din has suddenly stopped.

performed by Arminas Bižys (baritone sax)and Simonas Kaupinis (tuba)

Recording from the "Taming the Air" concert, Vilnius 2022

Sub-silence II

"Išeinant iš veidrodžio" keturioms fleitoms ir elektronikai.

Atlieka Vytautas Oškinis

Kūrinys parašytas pagal Rimvydo Stankevičiaus eilėraštį „Siela įstrigusi veidrodyje“. Jau kūrinio pavadinime aiškiai, iliustratyviai suformuluota jo idėją, kuri šiek tiek skiriasi nuo eilėraščio – į visą situaciją pažvelgta kitu kampu. Poetas pasakoja apie žmogaus užsidarymą savyje, apie savųjų ydų sureikšminimą, depresyviu žvilgsniu yra apžvelgiama esama situacija. Visi neigiami veiksmai veda link užsidarymo veidrodyje, kuriame matai tik esama atspindį. Užsidarymas blokuoja ėjimą pirmyn. Eilėraščio viduryje nostalgiškai prisimenama vaikystė, belyginant ją su esamu laiku grįžtama prie pirminės būsenos. Pabaigoje, niekas neišsisprendžia, paskutiniais žodžiais lyg kviečiama pagalba – „Kieta/ateiK“. Mano idėja yra išspręsti šią situaciją kitaip – išleisti sielą iš veidrodžio. Kūrinys pradedamas tarsi nuo eilėraščio pabaigos, kanonizuota, poliritmine fleitų tema – iliustruojančia paniką esančia veidrodyje. Tolimesnė dalis tarsi kontempliatyvi, neutrali būsena, kurioje generuojama energija išėjimo procesui. Po keliasdešimties įtampos sekundžių tarsi staigus atsileidimas, ir lengvais garsai tarsi išeinama iš viso to kas buvo.

Išeinant Iš Veidrodžio Excerpt1

Išeinant Iš Veidrodžio Excerpt2

version for 3 voices.
Performed by Karolina Ramonė

The title of the work is a quotation from one of Jonas Mekas's poems (from the collection "Diaries 1970-1982"). This text paints a melancholic, lonely state of being lost in the streets and drowned in the surroundings, in words, in oneself. This journey through unbroken threads of thoughts is like an endless walk through a labyrinth, waiting for someone to wake up from this gazing out of the window at something unimportant.

I prowl down the streets of words

Performed by Synaesthesis ensemble. 
Sound - MAMA studios

Walking the same streets every day, we seem to experience the same ritual - we lock the doors of the house, go outside, walk the same paths, sidewalks, always bypass the streetlamp pole from the same side, when we stop at the traffic light, we always look at the same place on the other side of the street. But while the action taken is always the same, the environment is constantly changing, and although we often don’t even notice it, but we experience it. The sound events outside lie in our memory, a whole host of sounds of different qualities and timbres surrounds us and accompany us every day as we walk the same streets. S e n s e s c a p e is like many different transparent photos of the same place stacked on top of each other.

Sensescape

"swells, pines, rustles...“
for symphonic wind orchestra

Performed by Lithuanian Symphonic Wind Orchestra
Conductor - Karolis Variakojis

It's a work that tries to describe the uncommon state of being in a rather mystical, unusual situation, when you are taken away by what you hear, see and, as if lifted off the ground, lose your sense of time, space and other everyday things. 
This piece, as it is, is the result of listening to an unnamed audio recording. It had a sound, a volatile, ever-changing rustling. As I instinctively began to think it might be the sea, my imagination began to create the circumstances in which it was recorded. However, in those visions I could not see myself anywhere. Towards the end of the recording, the rustling sound was complemented by sounds uncharacteristic of a seaside soundscape, which immediately gave me an idea of what was happening. These sounds were recorded on a summer night, sitting on the moss under a pine tree, listening to the pine trees being bent by strong wind gusts.

Recorded by LRT KLASIKA during Baltic New Music Days/"Iš Arti" festival 2022

swells, pines, rustles...

Nocturne. Re:dream.
for bass flute/flute, bass clarinet, prepared piano, violin, viola, violoncello

Performed by Synaesthesis ensemble. 
Conductor - Karolis Variakojis.


Dreams often take you to the same places. You meet the same people, whether or not you know them. It's as if a dream from some time ago is being replayed. The surroundings are the same, but they are a bit different; we don't really understand what is happening, but we know that we have been here before. Déjà vu of a dream.
Sometimes this feeling comes to us in reality. It seems that it has already happened, and sometimes we realise that we have dreamt about it all before and the place where this feeling came from was once seen in a dream. In this way we find ourselves between reality and a dream, without realising for a second which one we are in now.

Recorded by LRT KLASIKA, 2023 03 07.

Photo by Antoine Porcher

Nocturne. Re:dream.

REM (Rapid Eye Movement) is a stage of sleep, during which most of the dreams happen. While one is asleep it occurs 4-5 times and comprises 20-25% of sleep. Most often one awakes when it is happening, that is why we remember the last moments of dreams. The bigger part remains a reminiscence.

It is rare to investigate dreams, which are reflections of our psychological life, as well as it is rare to show interest in one’s spiritual life. It leads to the suppression of human creativity, and later one starts to live by principles which are stereotypical and constituted by long acting in the same environment. It fosters the development of culture of similar personalities, or to be more exact – impersonalizes the individual. The aim of this composition is to create sleep reminding condition for the listener, which MAYBE would allow the recreation of images that arouse during the REM phase.

Performs:
Diemantė Merkevičiūtė - violin
Mintautas Kriščiūnas - viola
Dominykas Digimas - violoncello

Sub-silence I 

for flute and organ.

Performed by:
Vytautas Oškinis - flute
Jūratė Landsbergytė - organ.

Recorded in Lithuanian National Philharmonic by Mama Studios
Sound masters: Vytautas Bedalis, Arūnas Zujus

Sub-silence I

Ką Sapnavai? | What Did You Dream?
music for sleep

At the same time as every night, when we turn off the light and go to bed, our consciousness and our body realise that it's time to go to sleep. As the phases of sleep follow each other, we slowly drift into a deep sleep. While our eyes are closed, a sequence of images, sometimes very real and sometimes quite fantastic, slowly unfolds. But have you ever wondered whether in dreams, as well as seeing, we also hear? Do we hear the dream environment, is there a dream soundscape? Is there music in dreams? Can we play, sing, make sounds in dreams? 
This piece is for slow falling asleep and immersion in a long acoustic dream. Throughout the twelve movements, the timbres of different instruments and voices intertwine with textures of different densities, like different dream images and soundscapes. It is music designed to accompany sleeping listeners in their subconscious narratives and to accompany or shape their dream sounds.

Performed by Synaesthesis and Melos ensembles:
Arminas Bižys / saxophones
Artūras Kažimėkas / clarinets
Simonas Kaupinis / tuba
Marta Finkelštein / piano
Monika Kiknadzė / viola
Arnas Kmieliauskas / violoncello
Karolina Ramonė / voice
Karolina Macytė / voice
Ūla Zemeckytė / voice

Performed at Lithuanian Composer Union celebrating LRT Klasika radio 20th anniversary. 

Recorded by LRT Klasika. 

PARTS
I part: Melatonin
[00:00:00 – 00:31:00]
II part: Slows
[00:30:00 – 00:50:00]
III part: On the other side
[00:50:00 – 01:05:30]
IV part: big white room
[01:05:00 – 01:26:30]
V part: [indistinct chattering]
[01:25:00 – 01:45:15]
VI part: i'm hovering above the ground
[01:45:00 – 02:06:00]
VII part: I've been here before (for Truman)
[02:06:30 – 02:25:40]
VIII part: calm and slow
[02:25:00 – 02:41:30]
IX part: in slow motion
[02:41:00 – 02:52:00]
X part: Observing
[02:50:00 – 03:01:30]
XI part: Dreamscapes
[03:10:00 – 03:30:00]
XII part: Slowly opened eyes
[03:30:00 – 03:56:30]

Ką Sapnavai?

Reflections

Hearing constantly registers the most prominent sound events around us in the moment and focuses on them. We hear everything else around us, but it often remains on the margins of our attention. This work is like an attempt to listen in a noisy city, not to individual events, but to the sonic whole. It's as if, when taking a photograph, you don't turn up the brightness and let everything spill out. To close your eyes and not understand what you are listening to and what you are hearing. 

Premier: Lithuanian National Philharmonic 
Vilnius 2024 02 10

Performed by Kristina Morozova (violin), Monika Kiknadzė (viola), Lithuanian National Symphony Orchestra, conductor - Modestas Pitrėnas.

Recorded by LRT Klasika

De-focus

Piece for solo cello.
Performing - Kotryna Šiugždinytė

In Sense

A piece for 4 saxophones. This work is about micro and macro cyclicity (which exists everywhere) and human role in his own created system of time. How much person structures the flow of time and does not comply his own created rules. We can see very clearly cyclicity in nature, but do we see our self in it?

Version with electronics and video projection: https://vimeo.com/134557023

Composed by: Dominykas Digimas
Performed by: Arminas Bižys
Video: Kristijonas Dirsė)

isochronous

Performed by St. Christopher Chamber Orchestra 
Conductor - Donatas Katkus

Recording was taken at International contemporary music festival Druskomanija '16 in National Art Galery (Vilnius, Lithuania)

no sense

This piece is about monumental iceberg and game which leads to nowhere.

Performed by Twenty Fingers Duo:
Lora Kmieliauskaitė - violin
Arnas Kmieliauskas - violoncello

Recorded in LMTA Music Innovation Study Center
Sound engineer - Julius Aglinskas

playing chess in Antarctica

From Another Point of View for ensemble, electronics and video (2017)is a piece about a feeling that emerges when in our everyday lives we begin to sense the disjuncture between its two parallels - the real and virtual. They exist at the same time, inevitably influence one another and, probably, could not exist independently should they be separated. The once autonomous reality is slowly passing this role on the virtual reality. We are the masters of this change, and yet, this change is also altering ourselves. It is a natural process in which a new image of us is born. It consists of many particles - together, they gradually create entirely new norms that we probably would've opposed before.

Performed by Contemporary music ensemble Synaesthesis
Recordet in Music Innovation and Study Centre (Vilnius, Lithuania)
Sound engineer - Julius Aglinskas
Video - Kristijonas Dirsė

From Another Point Of View

Performed by Lithuanian National Symphony Orchestra.
Conductor - Juozas Domarkas

per sense

as it came into my little attic – words from “I had nowhere to go”, book by Jonas
Mekas. It’s the last phrase from a story which talks about how the author says it self
- the “most beautiful memories”. This short story talks about how the passion for
playing music transforms to passion for listening of music – listening how the organ
music, performed by his uncle comes into his little attic.
Jonas Mekas stopped playing violin after his relatives started to call him Paganini:
“The name calling. Paganini. I was very sensitive to name calling because they
always called me some very undesirable name”.
However, this did not stopped his strong relation with music. This story led us to
think about how much do we stand against the constant environmental assessment,
how much do we react to it and can we adapt to it so that we do not lose anything.

Marta Finkelštein - piano 
Yiorgis Sakellariou - voice
Edmundas Seilius - sound ingineer

as it came into my little attic

Oscillations (2019)
for two sopranos and two altos

Although the daily flow of time makes an impression of constant change, we are surrounded by events which often repeats (with small variations). Inner sentiment, intuition, attitudes and reactions to the different situations remain the same, but because of growing knowledge about our environment, minimal change occurs. Every time we find ourselves in similar situations, we meet the same people again. Everything revolves around, each of us is in our own oscillations.

Commissioned and performed by ensemble Melos
Recorded in Mama Studios 

Link to full cd: https://open.spotify.com/album/1W1hyaeNGSlNH2cKAObpw0?si=JRrPTkd7Qj6CS8nS3qrpHA

Oscillations [excerpt]

Excerpt from a silent musical film 'Why Does This Appear?'

Performed by contemporary music ensemble Synaesthsis 
Recorded in Mama Studios (sound masters - Arūnas Zujus, Vytautas Bedalis)
Vilnius, Lithuania 2020

How does our memory work? Why do memories appear, and what is their real purpose? These themes are scrutinized by composer Dominykas Digimas and director Kristijonas Dirsė in a new musical film: “Why Does This Appear?” The basis of the script is the nine most vivid memories of seven characters of the film. However, this work’s narrative is built without words: only employing cinematic language and music that create nine silent scenes. Following the chain of memories, personal stories in the film are told and retold: every time mildly changing the emphasis of each memory. With the disappearing line between real and imaginary past experiences, the subjective nature of memory reveals itself. “Why Does This Appear?” is a film where the surreal world of silhouettes intertwines with a documentary: a kind of illusion whose actors are the performers of Vilnius contemporary music ensemble.

Why Does This Appear?:  Blur-Road

Dominykas Digimas is a young composer based in Vilnius, Lithuania. His field of activities are extremely varied stretching from contemporary and electronic, coordinating music festivals, to creative interdisciplinary projects. 

 His main creative interests are based on abstract, quasi-narrative ideas, which are contemplating a persons relation with their environment and their ‘self’. Upon deeper consideration he is often drawing upon psychological or psycho-analytical terminology, theories, and  often runs experimental listening practices.

 Dominykas’ oeuvre is based on strict musical structures which become an intermediate object between the idea and audio realisation. The pre-compositional material is constructed in two ways; firstly by creating a system/structure which corresponds the idea of the piece or producing research which will in turn create the architecture for the structure.

Dominykas Digimas

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