The Unicorn in Captivity

The Unicorn in Captivity, one of the series of seven tapestries The Hunt of the Unicorn.


Posted on June 22, 2015

Tapisserie (2015) for Flute, Clarinet, Piano, Violin, Violoncello.

Performed by Court-Circuit ensemble conducted by David Hurpeau.

Tapestry – a polychromic fabric, was an inspiration for the title of this piece of music, which has a decorative and repetitive character. According to the image of weaver’s art, the compositional principle consists of binding different attacks of sound in order to create a timbre, dynamics and rhythm polychromy in time. Piano has a decisive role and it’s strings are poetically linked to a frame on which the tapestry fabric holds. The percussive attacks of piano are orchestrated by emergence and then disappearance of other instruments. Gradually an accumulation and superposition of pulsations produce a complex rhythms and the role of each instrument is enriched.

Watch a video of combined score and audio of Tapisserie on Score Follower.

Tapisserie represented Lithuania both in World Music Days (Beijing, 2018) and International Rostrum of Composers (Palermo, 2017) and was selected for the 26th International Review of Composers (Belgrade, 2017) and appeared in the list of the 15  best Lithuanian compositions of the year 2015, competition organised by Lithuanian Composer’s Union.

Tapisserie was performed by 12 different ensembles:

Ensemble Polymorphia of Florida State University, USA.
Ensemble for New Music Tallinn  (cond. Arash Yazdani), MusicOlomouc festival in Olomouc, Czech Republic.
Ensemble Ars ad Hoc , at Convento São Francisco in Coimbra, Portugal.
Musica Humana historical performance ensemble conducted by Robertas Beinaris at Lithuanian Academy of Music, Vilnius.
Spółdzielnia Muzyczna contemporary music ensemble conducted by Mateusz Rusowicz during the festival Sacrum Profanum, Cracow, Poland.
Ithaca College Contemporary Chamber Ensemble conducted by Kin Szeto at Ithaca College, NY, USA.
Moscow Contemporary Music Ensemble concert at Sichuan Conservatory of Music Chengdu, China.
Moscow Contemporary Music Ensemble concert The Streaming World at ISCM World Music Days, Beijing, China.
Construction Site conducted by Rade Pejčić concert Reflections at the 26th International Review of Composers, Belgrade, Serbia.
Recording submitted by Lithuania National Radio for International Rostrum of Composers in Palermo, Italy.
OSSIA ensemble conducted by Vicky Shin at Eastman School of Music, New York state, USA.
Platypus ensemble conducted by Jaime Wolfson, concert Im Banne der Anderen IV Mode/Textur at Echoraum, Vienna, Austria.
Lithuanian Ensemble Network conducted by Vykintas Baltakas, concert Global LT at Gaida festival, Vilnius, Lithuania.
Court-Circuit ensemble conducted by David Hurpeau, premiere in France.
Her works are woven with cold and white polyphonies. Like Tapisserie (2015), which presents itself as a complex web of lines stretched to the extreme, as if stretched towards an impossible resolution, but whose relationships and discrepancies – a heritage of medieval music? – are governed by internal mathematics.

Among other pieces featured in the CD,  Repečkaitė’s Tapisserie stands out; by the way, it has been selected for the ISCM World New Music Days in Beijing this year. A young composer who lives in Paris and is rapidly developing an international career thoroughly, to the detail computes the musical construction, in which nothing is accidental, and therefore when listening, a clear structure and process are always heard. Tapisserie for flute, clarinet, violin, cello, and piano (ensemble Court-Circuit) depicts a pattern of a fabric, starting with sharp piano phrases, while pointillistically enveloping it with other instruments. This music also reminds of acupuncture as if it was stabbing something with sonic needles or a fierce debate in which the voices of instruments constantly interrupt each other.

Raimonda Žiūkaitė, composer and musicologist.

Justina Repečkaitė and Marius Baranauskas demonstrate a great intellectual rigour with their elegant constructions, masterfully built, and highlight a remarkable poinancy in their intensity. The energetic and playful nature of Justina Repečkaitė’s Tapisserie is interlaced with elegant virtuosity and drive that makes the work quite the tour de force.

Ben Lunn, British composer and musicologist, from the album.


Metų muzikos kūrinio autorius apdovanojamas

.. už muzikinės medžiagos vientisumą – Justinos Repečkaitės Tapisserie, instrumentiniam ansambliui

Puikiai techniškai suręstas opusas, turintis turbūt viską, ko reikia šiuolaikiniam kūriniui – išmąstyta visuma, suvaldyta struktūra, nepriekaištinga logika, kaip laikrodis suderinta visus elementus sukabinanti mechanika, bendras garsinės medžiagos, o ypač ritmo ir tembro homogeniškumas. Kūrinio idėja – veikiausiai audimas, kaip galima spręsti iš pavadinimo, bet turi kažką panašaus į užstrigusio vinilinio disko ritmiką. Programiškumas čia ne tiesioginis, paraidinis, o gestinis, beveik juslinis. Šis užstrigimas ir kuria nuoseklią įtampą, pasiekdamas kulminaciją, išskysdamas ir laipsniškai subliūkšdamas. Toks vieno judesio modelis kuria organišką vientisumą, kuriame visi elementai atranda savo vietą ir paaiškinimą. O harmonija, šalia to, kelia dar ir estetinį pasitenkinimą. Kompozicinės technikos įvaldymas tikrai fantastiškas.

Researcher and musicologist Vita Gruodytė





Justina Repečkaitė to Show Her ‘Tapestry’ at the World New Music Days in Beijing by Music Information Center.