Onutė Narbutaitė has been honoured with some other important prizes as well and her works are constantly performed at many concerts and festivals in Lithuania and abroad, among them at the festivals Baltisk Musikfestival (Stockholm, 1991, 1992), Schleswig-Holstein Musik Festival (1992), Helsinki Festival (1992), Musikhøst (Odense, 1992), A-DEvantgarde (Munich, 1993), Warszawska Jesień (1994, 1997), Spurensuche (Heidelberg, 1994), De Suite Muziekweek (Amsterdam, 1995), Artgenda 96 (Copenhagen), Kaustinen XX Chamber Music Week (1998), Frau musica nova (Cologne, 1998), Europäisches Musikfest Münsterland (1999), Frankfurter Festtage der Musik (Frankfurt an der Oder, 2000, 2004), young.euro.classic (Berlin, 2002), Aboa musica (Turku, 2003, guest composer), MaerzMusik (Berlin, 2003), Icebreaker II: Baltic Voices (Seattle, 2004), Klangspuren (Tyrol, 2004), ISCM World Music Days (Bern, 2004), contemporary music series Musica Viva (Munich, 2005), and other festivals and concerts in many European countries as well as in Canada and Japan. Onutė Narbutaitė has got also special commissions for the some of mentioned festivals. Onutė Narbutaitė has acquired some fundamentals of composition from Bronius Kutavičius, and in 1979 she graduated from the Lithuanian State Conservatoire (present the Academy of Music and Theatre) where she studied composition with Prof. Julius Juzeliūnas.
In 1979-1982 she lectured music theory and history at the faculties of the Lithuanian State Conservatoire in Klaipėda, and since 1982 she has lived and worked in Vilnius as a freelance composer. The first works by Onutė Narbutaitė appeared together with the wave of "new romantics", which distinguished themselves by open emotions and a diary-like manner of speaking (String Quartet No.2 "Open the Gate of Oblivion", 1980; "June Music 1981" for violin and cello; "Interludium" for flute, cello and organ, 1983). At first, she was compared with the generation of Mindaugas Urbaitis, Algirdas Martinaitis and Vidmantas Bartulis, however, it did not take her long to create her own individual style. In her music, the composer succeeds perfectly to combine constructive thinking with a suggestive, emotional manner of speaking.
The listener is charmed by authenticity and the vitality of music adjusted by intellect. The composer is "attracted by a complete, let's call it - "classical" shape of music, where a great role belongs to form, certain aestheticism and a sense of taste and limit" (Onutė Narbutaitė). The composer gets in contact with a cultural context of various epochs in her own way. It can be light and playful "Mozartsommer 1991" for flute, violin, viola and harpsichord, where Mozart's motifs known since childhood form a musical vision seen through today's eyes; or "Autumn Ritornello. Hommage à Fryderyk" for violin, viola, cello and piano (1999) - a subtle reflection on Chopin's music.
She devoted to her native city, Vilnius, the multilingual, multivoiced oratorio "Centones meae urbi" (1997) matured by the traditions of various nations which had lived for centuries here. The majority of the works by Onutė Narbutaitė can be characterized by the words of the Latvian composer Imants Zemzaris: "Finished work with the charm of a sketch". Such is, for example, String Quartet No.3 "The Drawing for a String Quartet and Returning Winter" (1991). The ornaments of "open work", however, submit to the deep flows of music and catch the listener together with them.
The Polish musicologist Danuta Mirka has aptly noted that Narbutaitė's music is "radiating with subtle lyricism and testifying to an extraordinary sensitivity of the author, as well as to the discipline directing the repetitive-permutational flow of masterful sound constructions". Read more on Last.fm. User-contributed text is available under the Creative Commons By-SA License; additional terms may apply..
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