Alter
ALTER is a concept-driven piano recital that explores artistic identity through two musical personas – Roberta and Patricija—created by pianist and artist-researcher Neringa Valuntonytė. Rather than presenting a conventional sequence of works, the programme unfolds as a continuous dramaturgical journey in which music, improvisation, sound, and visual elements reveal the shifting relationship between the two identities. The recital invites audiences to experience the space between Roberta and Patricija – not as a theatrical narrative, but as a performative exploration of identity, transformation, and self-perception. Spanning repertoire from the nineteenth to the twenty-first century, ALTER brings together works by César Franck, Clara Schumann, Grażyna Bacewicz, Maurice Ravel, György Ligeti, Brett Dean, and Randall Meyers. These works are interwoven with carefully structured transitions that function as connections between the two personas, creating a continuous musical and dramaturgical arc rather than a collection of individual pieces. ALTER was premiered as part of the collective monograph Piano Recital and Beyond (2024–2026), authored by Prof. Dr. Lina Navickaitė, Dr. Marta Finkelštein, Dr. Neringa Valuntonytė, and Assoc. Prof. Dr. Artūras Bukauskas, as well as within the collaborative artistic research of pianist Neringa Valuntonytė and theatre director Artūras Bukauskas, investigating new possibilities for the contemporary piano recital. While originating from artistic research, ALTER is conceived as a standalone concert programme in which performance, dramaturgy, and artistic inquiry merge into a single audience experience. Program: César Franck – Prélude, Fugue et Variation Clara Schumann – Variations on a Theme by Robert Schumann Grażyna Bacewicz – Piano Sonata No. 2 Maurice Ravel – Une barque sur l'océan from Miroirs György Ligeti – Tempo di Valse (IV) from Musica ricercata Brett Dean – Equality Randall Meyers – Mantra from Simplexity for Piano Solo
In the Loop
‘In the Loop’ can be interpreted differently by everyone. For some, it represents a feeling of being stuck—stuck in a routine or in their own minds. As the loop progresses, one may experience pain, reminiscence, and a sense of déjà vu, only to find themselves back where they started. Are they the same person, or have they changed? Is the beginning of the loop always the same? ‘In the Loop’ consists of a rather dark program. The first premiere is a short 30 min version of the project formed for my artistic research experiment: at the beginning I start with Randal Meyers ‘Mantra’, then transition to Karol Symanowksi’s ‘Isle of Sirenes’, evoking dark and scary storm. The climax of the program is a static ‘Des pas sur la neige’ by Claude Debussy after which – a sort of rejuvenation, a very different storm with ‘Une barque sur l’océan’ by Maurice Ravel. The loop concludes with the echoing sounds of 'Mantra' once again. This is not just an ordinary program; it's an ensemble between me and the lights during the concert. One can immerse oneself in meditation, whether it's beautiful or dark, when encountering the essence of the loop – whether good or bad. Program: R. Meyers – Mantra from Simplexity for piano solo K. Szymanowski – Isle of Sirenes from Métopes Op. 29 C. Debussy – Des pas sur la neige from Préludes (livre 1) M. Ravel – Une barque sur l’océan from Miroirs R. Meyers – Mantra from Simplexity for piano solo
The Waiting
I find myself constantly waiting. A lot is happening, so waiting seems reasonable. Each time I wait, it feels different. Sometimes it's joyful, other times it's scary. Most of the time though, it's too abstract since I'm unsure of what exactly I'm waiting for. I've grown accustomed to this state and continue to wait, uncertain of what lies ahead. The music and installation, titled 'The Waiting,' aim to capture the unique state of anticipation, where one awaits something without clarity on what exactly it is. It delves into how our perceptions evolve over time during such periods of waiting and how diverse our expectations can be. What are our contemplations? What captures our attention, and what eludes us? How swiftly do we acclimate to the waiting? This theme becomes a significant aspect of this project. The program comprises two primary components: sonic and visual. The sonic component intertwines three cycles featuring selections from Claude Debussy's préludes (livre 2), Carl Vine's Anne Landa preludes, and Cesar Franck's prelude, chorale, and fugue. These pieces are performed continuously, seamlessly transitioning from one to another. The overarching motif of the program is the prelude itself, symbolizing anticipation as a form of introduction.The visual component encompasses an installation representing a waiting room. Audience members receive numbered waiting tickets and observe a screen displaying some of these numbers, diverting their attention from the music as they anticipate their own numbers to illuminate. The audience remains uninformed about the significance of their number appearing on the screen, fostering a sense of nervous anticipation and uncertainty.The primary objective is to prevent the listener from fully immersing themselves in the auditory experience, reflecting how the act of waiting often disconnects us from the present and reality. Program: C. Debussy - Préludes (livre 2) - selected pieces C. Vine - Anne Landa preludes C. Franck - Prélude, Choral et Fugue
(In)complete
I found it intriguing to explore the illusion of a perfect and complete life and how it contrasts with our everyday reality. We often create ideals of perfection and completeness, but in truth, life involves constant choices and sacrifices. The struggle arises when we become fixated on achieving perfection, which can lead to disappointment and distraction from reality. I contemplated how music could manifest this particular state. I selected three piano cycles to represent the ideal musical numbers, symbolizing the illusion of perfection and completeness. However, I deliberately disrupted these cycles, choosing not to play them in their entirety. This way I forced myself to experience the uneasy selection. For instance, selecting which impromptu from Franz Schubert's op. 90 impromptus to omit was challenging, as each piece holds personal significance to me. Conversely, choosing pieces from Maurice Ravel's cycle 'Miroirs' was easier, as I had clear favorites. The most intriguing part was selecting pieces from Randall Myers' cycle 'The Ring Around Silence,' where the composer allows flexibility in the order and number of pieces played, emphasizing that any arrangement is perfect. This illustrates how different perspectives on perfection can affect one's state of mind and inner happiness, which was the essence I aimed to convey in this musical composition. In addition to the music, the concert incorporates visual and sonic elements, including voiceover and lighting. These means of media enhance the audience's immersion in the atmosphere of the pieces performed, supplementing the music's narrative. Furthermore, the audience is not informed in advance about which pieces are missing from the cycles, highlighting the contrast between those familiar with the musical ideals, who may feel disappointed, and those experiencing the pieces as perfect musical numbers for the first time. Thus, the question arises: is it better to cling to established ideals or to create and adapt ideals as we navigate through life's choices and experiences? Program: F. Schubert - Impromptus Op. 90 M. Ravel - Miroirs R. Meyers - Ring Around Silence