Juste Janulyte

(1982 - )

Justé Janulyté (b. 1982) has studied piano, choral conducting and music theory at the M. K. Ciurlionis School of Art, and composition with Prof. Bronius Kutavicius. In 2004 she earned a Bachelor Degree from the Lithuanian Academy of Music, where she studied composition with Prof. Osvaldas Balakauskas and music theory with associate Professor Grazina Daunoraviciene. Presently she is seeking Master Degree in composition. She took part in master classes for young composers of Baltic countries in Dundaga (2002, Latvia) and in international workshop for composers and musicologists in Warsaw (2003) led by Luca Francesconi, Marco Stroppa, Horatiu Radulescu, Ivan Fedele, etc. In 2004-05 she studied at the Milan Giuseppe Verdi Conservatory with Alessandro Solbiati, Giuseppe Giuliano and Mario Garuti, and attended master classes of Frédéric Durieux, Nicholas Isherwood and Andrei Smirnov. The composer has also written critics and articles on music. Janulyte's music was performed at the Youth Chamber Music Days (2004), festivals Is arti (2004), Mariu klavyrai (2004), "Gaida" (2005), "Permainu muzika" (2005), Arena (2004, Riga), I concerti nel chiostro (2005, Milan). In 2004 she was awarded the prize for the best chamber work ('white music' for 15 strings) at the composers' competition organized by the Lithuanian Composers' Union.

Majority of her compositions are written for ensembles of uniform instrumentation, e.g. 15 strings, 4 flutes, or 5 voices. In these compositions the composer constructs abstract images of four-voiced flute or five-voiced singer. Fixed pitch notation is often accompanied by relative markings of dynamics, tempo and rhythm, and indications for performers such as rubatissimo or aleatorically. Even though principle of metamorphosis 'from black to white' characterises form of most of her compositions, the composer avoids any abrupt transformations: generally very soft, slow and arhythmic music ends up completely differently from what it was in the beginning. However this process itself can barely be felt and is identified only after it has been accomplished. Macro-laws are reflected in micro-details: seemingly the most characteristic figure is sound emerging from nowhere, surfacing and disappearing again - a kind of dynamic and timbral 'swellings', from which melodies are weaved or thick textures layered, often saturated with non-traditional ways of sound producing.