A. Špilevojus, director of the Kanklii concert: “In these times of individualism, the Song Festival is an extremely significant experience” | Culture

Known to most from the world of theater, the director contributes equally talentedly to musical events, and while creating for the Song Festival, he delved into the existence of kankles and old customs for a long time. So St. The audience gathered in St. John’s Church will have the opportunity not only to hear the voices of the masters, but also to have a glimpse into the world of their work, the press release states.

– We will meet soon at the Song Festival in Vilnius. What are your memories, sentiments for this event?

– I cannot boast that I have been attending the Song Festival since childhood. My first time at this event was in my late teens. I was amazed by the massiveness of the Song Festival, the people swimming along Gediminas Avenue in national clothes, the prevailing atmosphere in the city.

The element of nationalism, being a small part of a huge organism, the feeling of unity, especially in these times of our individualism, is a rare, significant and highly protected experience. It is very beautiful that both the old songs and the music of our days come together and merge into a common sound. The experience of the song festival unites our grandparents, parents, today’s generation, foreign Lithuanians. Therefore, the holiday itself is an example of a meeting, a rare collective unity. Although I myself am a rather introverted person who likes solitude, these meetings, which have a nice national flavor, are very warm even for me, a person who sometimes separates myself from large companies.

– This time you are not only a spectator, but also the director of the Kanklii concert. Can you give away what your visitors will see and hear?

– Actually, being one of the creators of this Song Festival, I am looking forward to the program with impatience and curiosity, but the mood is a little different, I feel excitement. While preparing for the concert, I met the old kanklei masters who took over the kanklei making craft from their grandparents or neighbors living in the village. I am interested in the mythological side of kankles and the masters for whom not only the sound is important, but also the philosophy and spirit of kankles. St. John’s Church will hear the voices of those who understand and protect the knowledge of what kankles mean to our Baltic self-consciousness. It is true that some of these masters feel anxious regarding the preservation of kankles music, and this will become an important narrative of the concert.

– How did the meetings with the kanklei masters go? Maybe you had to travel around Lithuania, visit workshops or rural communities?

– I had the opportunity to ride around Lithuania on a motorcycle and get to know the kankle masters, visit their workshops, see how traditional Lithuanian kankles are made. I noticed that most craftsmen devote all their attention and energy to this craft, so they do not advertise or advertise. Journalists, ethnomusicologists, etc. also pay little attention to them, so the public knows too little regarding these exceptional people and the indescribably important and significant work they do. They are the silent and faithful nurturers and guardians of a deep tradition. It is interesting that all of them are extremely different, unlike each other – both in their age and in their lifestyle. Most of all, they are united by their love for kankles, Baltic mythology, old Lithuanian music, and especially sutra music. I would also note their exceptional hospitality and openness. By the way, we traveled to the masters together with the video artist of the concert, so St. The audience gathered in St. John’s Church will have the opportunity not only to hear the voices of the masters, but also to have a glimpse into their creative world.

– Perhaps you heard memorable thoughts and stories from the masters of kanklei?

– What I remembered most was the love and respect with which they look at the kankles and their craftsmanship. And also the fact that their goal is not huge concerts, not public recognition, not money, but that every trumpet player finds his music, his piece, his quiet time with his instrument. They don’t care regarding numbers and records. For them, the authenticity and sincerity that is born during the meeting between the matchmaker and the matchmakers is important.

– Probably, I won’t be wrong when I say that most people know you as a theater director. And what is your relationship with music?

– I have always lived between music and theater – I attended both a music club and instrument lessons – I once played drums seriously, later I got a guitar in my hands, I started singing in a rock band. After school, hesitating regarding the choice, I first found myself in audiovisual arts studies, in the role of sound designer. But I continued to go to the theater. Once I had to volunteer in Gintaras Varna’s performance “Crime and Punishment”. I was so captivated by the theatrical action that I immediately realized that I was deceiving myself and that I really wanted to be in the theater – as an actor, director or any other person who creates an action on stage.

The first income while studying acting was also from creating music for performances. I directed several music videos, various performances, and finally people from the music world started to approach me. Perhaps because of these experiences, there is a lot of musical thinking and logic in my performances, and a lot of theatricality in my musical projects.

– You have been living between Vilnius and Panevėžys for some time. What do you find in these cities, how does your creative path develop here?

– For some time, following leaving Panevėžys and returning here occasionally, I did not feel very well. If I went back for the weekend, I mightn’t find the people around me, it seemed that everything was getting old, the houses and buildings were fading, and my generation had already left – I retreated and became cold. Everything changed when I came back here to live and create following 12 years. The image and order of the city is changing, more green spaces have appeared, a considerable number of young professionals have returned. Maybe my life is such that I was already happy during my studies, the abundance of cultural life in Vilnius, the noise, the weekend buzz of bars, and now the calmer life in Panevėžys suits me very well. I like to be by myself, I like to go out for a walk in the evening and not meet a single person. It is not only fascinating, but also allows you to focus your creative thoughts, dive into the processes more deeply, more calmly, more slowly.

By the way, Panevėžys is a city where respect for the theater is instilled in even the most athletic young people of the city – they will not spit when looking in the direction of the theater, they will look respectfully at the audience. Juozas Miltinis and his students, legendary actors, have shaped the theater culture for many years, so today many different people with different educations and interests feel love for the theater. It’s true, I try to remind myself not to “get quiet” – I’m not Macbeth, usurping the seat of power for a long time. I understand that everything has an end, so when it comes, I will receive it with an inner smile and thanks.