Uploaded May 2023 | Updated September 2026, 4 days ago
Premiered 14 May 2023, Great Hall of the Estonian Academy of Music and Theatre, Tallinn, Estonia
Peeter Margus, violin
Estonian Academy of Music and Theatre Symphony Orchestra, conducted by Toomas Vavilov
Full concert available here: youtube.com/live/3UPRgstcB7c
Note that the score may not exactly match up with the recording in a few places, due to limited rehearsal time.
"Gathering Dew", my first completed concerto, searches for a unison between the pure tone of the violin and the beautiful, often mournful simplicity of Lithuanian folk music. The harmonics and open strings of the violin are gradually transformed into fragments and variations of two folk songs – “Už ežero ugnys dega” ("Behind the lake, fires are burning", about a sorrowful orphan girl) and “Laidos saulalė” ("The sun was setting", depicting a personified sun speaking to villagers harvesting rye) – after which the soloist plays both songs in their full splendor.
The meaning of the title is twofold. Inspired by the delicate qualities of morning dew, I imagined the opening of the concerto as a gradual accumulation or “gathering”, beginning from the “dewdrops” of violin harmonics and extending to the loudest point. In addition, dew (“Rasa” in Lithuanian) is a common female name in Lithuania, exemplifying the very close connection between Lithuanian culture and nature.
"Gathering Dew" is dedicated to the Lithuanian people, in appreciation of the kindness, generosity, and hospitality they have often showed during my travels in Lithuania and abroad.
Recording of “Už ežero ugnys dega” by Liucė: youtube.com/watch?v=1LCvWWpW7sQ
Recording of “Laidos saulalė” from Baltic Folk YouTube channel: youtube.com/watch?v=uEFy4LyKd3I
Premiered 14 May 2023, Great Hall of the Estonian Academy of Music and Theatre, Tallinn, Estonia
Peeter Margus, violin
Estonian Academy of Music and Theatre Symphony Orchestra, conducted by Toomas Vavilov
Full concert available here: youtube.com/live/3UPRgstcB7c
Note that the score may not exactly match up with the recording in a few places, due to limited rehearsal time.
"Gathering Dew", my first completed concerto, searches for a unison between the pure tone of the violin and the beautiful, often mournful simplicity of Lithuanian folk music. The harmonics and open strings of the violin are gradually transformed into fragments and variations of two folk songs – “Už ežero ugnys dega” ("Behind the lake, fires are burning", about a sorrowful orphan girl) and “Laidos saulalė” ("The sun was setting", depicting a personified sun speaking to villagers harvesting rye) – after which the soloist plays both songs in their full splendor.
The meaning of the title is twofold. Inspired by the delicate qualities of morning dew, I imagined the opening of the concerto as a gradual accumulation or “gathering”, beginning from the “dewdrops” of violin harmonics and extending to the loudest point. In addition, dew (“Rasa” in Lithuanian) is a common female name in Lithuania, exemplifying the very close connection between Lithuanian culture and nature.
"Gathering Dew" is dedicated to the Lithuanian people, in appreciation of the kindness, generosity, and hospitality they have often showed during my travels in Lithuania and abroad.
Recording of “Už ežero ugnys dega” by Liucė: youtube.com/watch?v=1LCvWWpW7sQ
Recording of “Laidos saulalė” from Baltic Folk YouTube channel: youtube.com/watch?v=uEFy4LyKd3I








![SOMEI SATOH - Kisetsu for orchestra (Score Video)
This video is provided for educational use only; please email me at pranav.sivakumar@berkeley.edu regarding any copyright issues.
Tokyo Metropolitan Symphony Orchestra conducted by Tetsuji Honna
Somei Satoh (1947-) is a Japanese contemporary composer whose work incorporates such diverse influences as Japanese court music, 19th-century Romanticism, Shinto and Zen Buddhist philosophies, and often the electronic innovations of the late 20th century - in which Satoh was particularly involved early in his career. Besides solo, chamber, choral, and orchestral works for Western instruments, he has also written purely electronic music, works of music theatre and pieces for Japanese instruments.
Satoh has long been one of my favorite composers almost ever since I discovered the wider world of contemporary music around 2015; I find his carefully considered treatment of silence to be the most beautiful and profound aspect of his work. Few of Satohs pieces display these traits more strongly than Kisetsu (Season in English), which was written in 1999 as a commission from the New York Philharmonic and premiered the same year. As Satoh himself prefers, I will let this work, which says no more musically than it needs to, speak for itself and simply end with the composers reflections on his music:
My music is limited to certain elements of sound and there are many calm repetitions. There is also much prolongation of a single sound. I think silence and the prolongation of sound is the same thing in terms of space. The only difference is that there is either the presence or absence of sound. More important is whether the space is living or not. Our [Japanese] sense of time and space is different from that of the West. For example, in the Shinto religion, there is the term imanaka which is not just the present moment which lies between the stretch of past eternity and future immortality, but also the manifestation of the moment of all time which is multi-layered and multi-dimensional .... I would like it if the listener could abandon all previous conceptions of time and experience a new sense of time presented in this music as if eternal time can be lived in a single moment. SOMEI SATOH - Kisetsu for orchestra (Score Video)](https://i.ytimg.com/vi/ot7kNG4d6PU/mqdefault.jpg)

