In this interview with KVMT chief conductor Tomas Ambrozaitis, we talk about the scale of “Symphonic Adiemus,” its musical and emotional architecture, the conductor’s responsibility in managing large performing forces, and the importance of this work for the Klaipėda festival.
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– The Klaipėda festival annually becomes an important cultural platform for Western Lithuania, especially the city. What message are you sending to the Klaipėda community this year?
– It should not be forgotten that the “Klaipėda festival” is not a novelty in the cultural life of the port city – for many years KVMT, led by maestro Stasys Domarkas, organized the international festival “Musical August by the Seaside,” during which symphonic music evenings, operetta and opera premieres were offered to Klaipėda residents and city guests. Not only famous Lithuanian performers – singers, soloists, conductors – but also artists from abroad appeared at the festivals of that time.
Currently, it is the “Klaipėda festival,” which, after the name change, for many longtime listeners and viewers is associated with “Musical August by the Seaside” – and this is completely natural. The festival changes every year, and that is interesting. I believe each festival brings new energy, new impressions, acquaintances, and meetings not only on stage but also among the audience to our city.
I invite everyone who comes to visit Klaipėda – both Lithuanians and foreigners – to immerse themselves in the pulse of our beautiful port city! I wish everyone to nourish their mind, soul, and heart with music and imagery!
– “Symphonic Adiemus” is a work that has grown into a global phenomenon. What seems most essential to you as a conductor in this work – its musical, emotional, or philosophical dimension?
– This Karl Jenkins opus is one of his most famous works, I dare say, in the world. I could not single out which of these dimensions is the most essential or important. I see the entire work as a unified story that contains and reveals the experience of human and humanity’s life – with all emotions, not excluding the significance of prayer.
– K. Jenkins created a unique “language” based on melody rather than words. How does such a decision change the tasks of the choir and orchestra?
– I will reveal the composer’s music through its compositional form, dynamic and emotional cardiogram. It is very broad in spectrum – from subtle melodic lines to thunderous climaxes of all performers. I hope to convey the composer’s intentions to the listeners through a correctly interpreted score.
– Is the title of the work related to the Latin “adeamus” – “approach”?
– We live in a constantly changing world – unfortunately, not all changes are good…
– The choirs gathered for this concert are from the Western Lithuania region. Why was such a joint performer structure chosen, and what does it allow to achieve musically?
– These are ensembles from the closest cities – Palanga, Kretinga, and, of course, Klaipėda.
The joint, massive choir is required by the score of the work, written for a full symphony orchestra with a large percussion group – to achieve the proper sound balance. The choir must be strong both in terms of voice emission and physical endurance.
– In your opinion, what distinguishes each of the participating choirs – “Aukuras,” “Cantare,” “Kristalė,” and the Palanga chamber choir – and how will their different identities blend in the overall sound?
– The choirs will have a joint rehearsal before the first meeting with the orchestra, where the voices of all choir singers will merge into one colorful sound. These ensembles have already met in their previous concerts, so this joint work will not be the first.
– What does “Symphonic Adiemus” demand from the conductor – is it a technical or emotional challenge?
– Like every work with a large number of performers, “Symphonic Adiemus” demands all the conductor’s strength – maximum concentration, clear, cold mind, and at the same time a warm, burning heart.
– How is the preparation for performing such a huge work – when a symphony orchestra and several choirs meet on stage? Where lie the biggest organizational and musical coordination challenges?
– Preparation is the responsibility of each participating ensemble’s leader and its members. We all know what and how to do: each leader, assessing their ensemble’s capacity, plans the time during which this opus must be rehearsed and prepared for the first joint rehearsal and the main event – the concert. Organizational matters are resolved much earlier, and musical ones when everyone meets together.
– What should be wished?
– Speaking of wishes – performers can always be wished good mood, listeners – good emotions, and all together a calm, warm September evening.
– In your opinion, how important are the Klaipėda festival’s free, community-oriented events for the city’s cultural life?
– I think such meetings bring and unite city residents very closely, and allow visiting guests to feel the spirit of Klaipėda. I would wish for as many such meetings as possible.
– How does this concert fit into your creative line as the KVMT chief conductor?
– I do not write my chronicle – I perform all the works I work on, to which I am assigned or take on myself to create, with full strength, to the end, “to the bottom.” I work so that I could and would have something to be proud of, so I could say to myself: “not only in the Elbe Philharmonic or in Vilnius, Kaunas sound good concerts, and beautiful productions in theaters – Klaipėda also sounds! And it sounds with a full heart, raising a person towards that eternal good!
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