Vykintas Baltakas: Cantio

Vykintas Baltakas Cantio
Cantio

Vykintas Baltakas: Cantio

Year of composition:
2001-2004
Subtitle:
Musik theatre on a text by Sharon Joyce (2004)
Scored for:
for narrator, soprano, tenor, bassbaritone, ensemble and electronics
Composer:
Vykintas Baltakas
Original language:
Ancient Greek
Translator:
Erika Ria Otto (28.01.2013)
Librettist:
Sharon Lynn Joyce (23.10.2003)
Roles:
narrator
Soloists:
soprano; tenor; Bassbariton
Instrumentation:
1 0 1 0 - 1 1 1 1 - perc(2), acc, pno, alto sax(Eb), vln, vla, vc, cb, electronics
Instrumentation details:
piccolo
clarinet in Eb (+bass cl)
alto saxophone in Eb (+sop.sax(Bb))
horn in F
trumpet in Bb
trombone
tuba
1st percussion
2nd percussion
accordion
piano
violin
viola
violoncello
contrabass
electronics
Commission:
ein Auftragswerk der Landeshauptstadt München zur Münchener Biennale 2004
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Cantio
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Work introduction

Cantio at the Ultraschall Festival 2013 in Berlin:

The idea of the work is that the linguistic rhetoric should determine all the piece’s expressive aspects – its dramaturgy, music and staging. Music arises from the language and the scenic sound while, for its part, the action onstage reacts to the music.

A certain form of Cantio was performed in Greece; the gods were to be convinced to remain in the city if they were thought to be ready to abandon it. It survives only in fragments.

But our perceptual options of reconstructing such a distant epoch, identifying with it, are also merely fragmentary at most.

The attempt is to complete those fragments and, using imagination – and without becoming historical – to revivify them, allow them to speak – to make them heard, perhaps, if only for a short moment.

Vykintas Baltakas

World première

Location:
München
Date:
18.05.2004
Orchestra:
Münchener Kammerorchester
Conductor:
Christoph Poppen

Press reviews

Baltakas is an enormous talent; he knows exactly what he wants and what he can justify musically - and he doesn't succumb to convention. Turbulent music theatre with congenial stage direction by Oskaras Korsunovas. (Reinhard Schulz, NMZ)

Cantio was one of the most appealing séances in the Biennale's history. (Hans Klaus Jungheinrich, Frankfurter Rundschau)

As a contribution to the discourse on opera's future, Cantio definitely has its qualities. (Gerhard Rohde, Frankfurter Allgemeine Zeitung)

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