Arkady Gotesman: Music For An Imaginary Ballet

Arkady Gotesman occupies a singular position in Lithuanian music scene, having performed across more than fifty international festivals and concerts as a percussionist, composer and interdisciplinary artist whose work spans jazz, contemporary classical repertoire, free improvisation, theatre, literature and film. Over four decades he has collaborated with an exceptional range of musicians—from Vyacheslav Ganelin, Petras Vysniauskas, Liudas Mockūnas, Anthony Coleman and Mats Gustafsson to Nate Wooley, Charles Gayle, Barry Guy and Dave Douglas, among many others—while also premiering works by Anatolijus Šenderovas, Osvaldas Balakauskas, Šarūnas Nakas and other major contemporary composers. His artistic identity is defined not only by instrumental imagination, but by a rare capacity to integrate divergent artistic traditions: Lithuanian experimentalism, Klezmer revival, interdisciplinary performance and academic modernism. Music for an Imaginary Ballet extends this wide creative scope. Conceived as a musical collection of encounters recorded between 2008 and 2025, the album gathers material from duos, trios and quartets featuring some of Gotesman's closest collaborators. It reflects a creative path shaped by restlessness and intellectual curiosity—a line of development in which improvisation becomes not a matter of impulse alone but a way of thinking, remembering and constructing form.

Music for an Imaginary Ballet outlines Gotesman's work through the aesthetics of contemporary chamber improvisation, placing structural composition and attentive listening ahead of gesture. The twelve recordings document a series of focused encounters rather than a retrospective sweep. The album is framed by two solo excerpts from Anatolijus Šenderovas' After Chagall (tracks 1 and 12), which establish a quiet, reflective symmetry around the more densely interactive material. Between these bookends, Gotesman moves through duos (tracks 2, 3, 5, 8, 9 and 10) and trios (tracks 4, 6, 7 and 11), each setting revealing a different aspect of his approach to proportion, density and spatial awareness. Recordings are taken from live performances, but the music avoids volatility; its focus lies in measured interplay, in how lines meet, diverge and re-form. What emerges is a sequence of disciplined exchanges in which improvisation operates as a method of construction rather than display.

The choreography in Music for an Imaginary Ballet unfolds in the listener's imagination in tandem with the sound. As a release, it stands out as a compelling example of contemporary chamber-improvisational music. Its structured compositional intelligence and aesthetic subtlety—heard in the carefully shaped forms, the calibrated pacing, and the deliberate contrasts between settings—give the album a clarity of design that encourages the kind of listening one would experience of an elegant, finely detailed performance in a theatre. Compositions are consistently absorbing: Each contributes its own relational tension, balance and dramaturgy, yet all share a disciplined attentiveness that elevates the music beyond moment-to-moment spontaneity. Within the field of small-ensemble improvised music, the album distinguishes itself through its combination of refined musicianship and compositional acuity. Nothing feels casual or provisional, even though the music arises from real-time creation. While it does not seek to be a career-defining opus, it excels on its own terms, presenting a focused, expertly-realised collection whose coherence and depth sustain meaningful engagement. In this sense, album is excellence without grandiosity, and rigour without rigidity. 

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