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Vykintas Baltakas:


for piano and tape


main information [+]
piano and electronics
excerpts from Indian mythology (adapted by Baltakas) and fragments from "Pasivaikščiojimas be šuns" by Gintaras Gutauskas
ComputerStudio of InMM (Institut of new Music and Media) at Staatliche Hochschule für Musik Karlsruhe
26 Jan. 1995, Schloß Gottesaue, Karlsruhe (DE)
2002: Composition Prize of the Concours International de Piano XXème siècle d’Orléans
note *
While the first half " PASAKA" must never be changed, a second half of the title "a fairy-tale" could be added in the language of the country where the piece is performed. For ex., Pasaka / ein Märchen, Pasaka / un conte, Pasaka / a fairy-tale, etc.
latest revision:
v2011 (updated electronics)
practical [+]
general :
To keep open the listener's imagination, it is better not to publish the whole text in the concert brochure. A short description is best.
The written text is in Lithuanian. The piece must always be performed in its original language. A recording with pronunciation is available from the publisher.

The expression of the text is deliberately notated in an approximate way, using only rhythm and some verbal expressions (ex.: 'important', 'quietly', etc). It describes only the character, but not the interpretation of the text. The pianist's way of expressing the text (pitches, dynamics, the quality of vocal production, etc.) is as free as an actor's interpretation of a script. Of course, these interpretive ideas can not contradict the musical and formal idea written in the musical score.

If at all possible, a stage director should be involved in the staging of the piece.
electronics / equipment:
- 4 loudspeakers (preferably) or reduced stereo version with 2 loudspeakers
- sound card (with at least 4 audio channels in/out)
- console / mixer (min. 4 channels)
- monitor (on stage for the pianist) 
- computer with Max / Msp* application (preferably) or any sequencer.
- microphone for pianist voice**
- stereo microphone for live-piano**

*The version using Max / Msp not only allows the flexibility of playback, it also allows you to customize the volume of all tracks and each layer can be adapted easily for any concert situation.
** microphones for live-piano and pianist voice are only needed in big concert halls, in order to get the right balance in sequences such as bars 93-146 or 165- 204. If the hall is small, it would be better not to amplify the live-piano as to maintain the natural live piano sound.
There is a less flexible version which uses only two tracks:
1. 54 - 127 bars
2. 164 - end
This can be useful when the sound engineer doesn’t know the piece well enough  in order to follow it or there are too few rehearsals. This version (with two tracks) can be easily performed using ProTools, Logic or any other sequencer.
However, for the best musical results the use of the Max/Msp version with five tracks is strongly recommended.
position of the loudspeakers:
Stacks Image 820
individual edition:
The best solution is to have the pianist/performer record the voice sequence in bars 115-146.
texts [+]
in german
Man erzählt ein Märchen. Für sich, für jemand anderen... Es ist unwichtig. Wichtig ist erzählen zu wollen. Unbedingt! Das ist ein Märchen!!...oder...das ist auch ein Märchen...
in english
A person tells a story. For himself, for someone else. It's not important. What's important is the desire to tell the story. The necessity! Itself a fairy-tale too...

The text of PASAKA is based on different parts of Indian mythology - creation of the world, creation of the night, born of the death, Markandea's visions, etc. But the relationship beetween them, succession, presence of the speaker, evolution in the music create a new dramaturgic level - which is not less important as the basic story.
The piece can only be performed in the original language: by using the text in Lithuanian composer attempts to distance the audience from the narrative so that they could use their fantasy and listen to the MUSICAL act.
in french
On raconte une histoire. Pour lui, pour quelqu’un d’autre.
C’est sans importance.
..Un conte.
in lithuanian
Sekama pasaka. Sau, ar kažkam kitam, nesvarbu. Svarbus pats noras pasakoti. Būtinybė pasakoti! Ir tai tampa pasaka...

Kūrinys sukurtas vokiečių pianistui Benjaminui Kobleriui. Jame pianistas rečituoja istorijas iš indų sakmių apie pasaulio sutvėrimą. Sąmoningai pasirinkta vokiečių publikai nesuprantama lietuvių kalba neįpareigoja sekti turinio ir nukreipia klausytojo dėmesį į patį pasakojimo aktą, išryškindama teatrinį kūrinio aspektą. 1996 m. Pasaka įvertinta Tarptautinių Darmstadt'o vasaros kursų premija, o 2002 m, Tarptautiname fortepijoninės muzikos konkurse XXème SIECLE d’ ORLEANS Paryžiuje pelnė pagrindinį prizą.
reviews [+]
Thierry Blondeau, 2001
Ensemble 2e2m, le 22 janvier 2001, Paris Auditorium St-Germain

(...) Vykintas Baltakas compose pour un/e pianiste parlant et chantant, une musique obsessionnelle et surprenante (...)
The New York Times, october 24, 2001
Paul Griffiths
Whitman's Sampler: By 4 Innovators / Solo Flights, Clark Studio Theater

Marija Ilic is a clear and decisive musician. (...) She gave a compelling account of Pasaka by the Lithuanian composer Vykintas Baltakas, in which she had to both speak and play while also keeping in time with recorded sounds. The recorded voices seemed to come from within the instrument, to be sparked off by it, while other recorded sounds extended and embraced what the piano produced.
Wiener Zeitung, march 18, 2002
Reiner Elstner
Konzerthaus/Hörgänge: "Lange Nacht der neuen Klänge"

(...) Die meisten Kompositionen und ihre Interpreten konnten nicht vermitteln, dass Neune Musik etwas Spannendes sein kann. Nur einzelne Leistungen hoben das Dargebotene aus der Bedeutungslosigkeit. Der Saxophonist Markus Holzer gehörte ebenso dazu wie wie der Pianist Benjamin Kobler. Letzterer hatte in Vykintas Baltakas' Stück Pasaka als Pianist und Rezitator virtuos gegen eine Tonbandstimme anzuschreien. (...)
recordings [+]
history [+]