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Eyes Dazzled by the North

by Šarūnas Nakas

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1.
Crypt 19:03
2.
Reliquary 16:13
3.
The Cup of Grail 07:46
4.
And This Tranquillity 14:43
5.
Eyes Dazzled by the North 19:25

about

1. Crypt (1996)
for double bass and percussion
in memory of my grandfather Stanislovas and grandmother Sofija

2. Reliquary (2008)
for female voice, amplified kanklės and oboe
fragment of a poem by Johannes Bobrowski, traslated to Lithuanian by Bronys Savukynas
in memory of Bronys Savukynas

3. The Cup of Grail (2001)
for clarinet and two percussion
in memory of Julius Juzeliūnas

4. And This Tranquillity (1991)
for one female ant two male voices, piano, viola and trombone
fragment of a poem by Vytautas P. Bložė

5. Eyes Dazzled by the North (2004)
for two flutes, oboe, clarinet, kanklės, piano, vibraphone, percussion, violin and viola


Text or philosophy do not offer a key to understanding music, although they may provide the impulse for its emergence. This is why the composer’s text about music, too, inevitably differs from what is going on in the music itself and how the listener hears it. Often these are absolutely unrelated things, reminiscent of galaxies growing apart.
The listener knows perfectly well what to do with the text that accompanies the music, weaving a web of sounds, words (if he reads them), and his own associations. Why should the composer’s egotism deprive him of that pleasure of encountering the unexpected?
I find the idea of the North, related to boundless scenery, blinding light, pitch-black darkness, fierce cold, loneliness, alienation and risk, important and inspiring. My compositions could be compared, in some respects, to macro-systems, like lakes, oceans, rivers, nebulae, star clusters, or vast Northern landscapes: it makes no sense to single out individual sounds, motifs or episodes in my music, because changes occur here at a very slow and hardly perceptible pace.
I cannot say why I am so drawn to this beautiful and outwardly indifferent, merciless and ascetic Northern world, but then it is impossible to inspect all the corners of one’s subconscious, and neither is there a need to do that.
The ancient Greeks wrote of Hyperborea, a utopian Northern land where people lived for a thousand years in absolute happiness. The Greeks had two notions of time: chronos (χρόνος), which described the passing and counted time, and kairos (καιρός), which denoted an extraordinary moment of success, not unlike a hint of divine eternity, when one experienced a permanent state of astonishment and love.
I believe that music has the potential for transporting the listener from real time to the illusory kairos, impossible to describe with words and texts, and yet perceived as just as real as the stinging mid-winter wind.
by Šarūnas Nakas

credits

released February 22, 2013

PERFORMERS:

Agnė Sabulytė – female voice (2, 4)
Aistė Bružaitė – kanklės (2, 5)
Andrius Žiūra – clarinet (3, 5)
Arūnas Dikčius – male voice (4), piano (4, 5)
Danielis Rubinas – double bass (1)
Darius Dikšaitis – violin (5)
Gediminas Dačinskas – viola (4, 5)
Giedrius Gelgotas – alto flute (5)
Pavel Giunter – percussion (1, 3, 5)
Šarūnas Nakas – male voice (4), conductor (5)
Tomas Bieliauskas – oboe (2, 5)
Tomas Kulikauskas – vibraphone (5)
Valentinas Gelgotas – flute (5)
Vygantas Šilinskas – trombone (4)

Recorded at the MAMA Studios, 2012
Recording, mixing and mastering: Arūnas Zujus
Graphic design: Sigutė Chlebinskaitė
Photos: Karolina Jakaitė
Producers: Karolina Jakaitė, Šarūnas Nakas

℗ & © Šarūnas Nakas, ZIQQU CD 002

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Šarūnas Nakas Vilnius, Lithuania

Šarūnas Nakas (b.1962) is a Lithuanian composer, essayist, curator, filmmaker and broadcaster. www.mic.lt/en/database/classical/composers/nakas/

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