Amazing score ! Love Picabia works ! Thank you Liva.

šis skaņdarbs labi iekļautos kādas filmas skaņu celiņā :)

- for mezzo soprano, string octet & piano

feat. Gloria Palermo

endless thanks to all the performers! ~ Joanna Duncan, Carson Marshall, Giancarlo Latta, Teddy Schenkman, Austin Simmons, Francesca McNeeley, Matthew Gustafson, August Ramos, Yurie Farnsworth

Text:

Actaeon

when we meet
take my hands in yours
and fold my fingers into bone.
I know you,
and now my jaw grows long,
and my bones soft
like clay

do as you will
and I will carry the wreath
you place upon my head
into the woods
invisible, my skin changed
to hide, coarse
and brown,
the color of the trees.

Actaeon

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

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

Svärmod Och Vemod Är Värdesinnen

Vemod (from "Svårmod Och Vemod Är Värdesinnen")

Commissioned by the Transit Festival (Leuven) and designed to be performed by B’Rock - one of the world’s leading early music ensembles - Corelli_HACK investigates the collision of DJ technology and Corelli’s Concerto Grosso Opus 6 No. 4. We know increasingly that Corelli’s music spread from Italy not just in the official form of printed scores, but in transcriptions of dubious standards and in a number of sometimes poorly made manuscripts. We could speculate to say that these non-official versions of the music spread and mutated with characteristics more akin to language than text. This form of hybrid dissemination is not so different to our current ‘post downloading’ musical world, where the ‘official’, ‘finished’, ‘truthful’ product may often be a fabrication. Indeed, the heavy studio editing prevalent in the commercial release of classical music might represent a form of ‘post truth’, and this dialectic between the authentic and the forgery has not only a long history of debate in the fine arts, but applies equally to the dialogue between the live and the recorded in electronic music.

B'ROCK - Matt Wright - Corelli Hack (Transit 2016)

Performed by Lithuanian National Symphony Orchestra.
Conductor - Juozas Domarkas

per sense

for 15 solo strings

Performed at West Road Concert Hall by the Ricochet Ensemble in May 2018

No Way Of Knowing

An experiment with electronics, viola and narrators.

Elise Hagan, Thomas Grieg - narrators
Anna Semple - Viola

Text by Lewis Carol

Transparencies (after Picabia)

Līva Blūma

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