Osvaldas Balakauskas has generated a unique tone of voice by forging brand-new variations on latest compositional methods, while for quite a while serving his nation within a diplomatic capability and presenting a few of Lithuania’s finest authors through his vocal and choral configurations. Balakauskas received his simple training on the Vilnius Pedagogical Institute from 1957 to 1961, and from 1964 to 1969, he examined structure with Boris Lyatoshins’ky on the Kiev Conservatoire. During this time period, he made the Impresonata for flute and piano (1964), the unusual and severe timbres of Extrema for piccolo, cor anglais, bass clarinet, dual bassoon, trumpet, xylophone, and harp (1966), Aerophonia for blowing wind quintet (1968), String Quartets No. 1 no. 2 (1971), and various other pieces. These functions were inspired by serialism and specifically the music of Webern and Messiaen. In 1972, he transferred to Vilnius. In the intervening years, he made music for the film/ballet Zodiac (1984) for chamber orchestra and tape, the ballet Macbeth (1988) for synthesizer, Ludus modorum (1972) for cello and orchestra, Symphony No. 1 (1973), Sonata from the Mountains for piano and orchestra (1975), Symphony No. 2 (1979), the expansive Passio strumentale for single strings and orchestra (1980), Dada Concerto for chorus and little orchestra (1982) (Lithuanian text message by Leonardas Gutauskas), Spengla-Ula for strings (1984), Opera strumentale for huge orchestra (1987), his initial electro-acoustic piece Orgy. Catharsis for electrical violin and tape (1979), and various other works. In every of these parts, Balakauskas was continuously refining his exclusive edition of serial technique (in his method, the series determines the next transpositions of brand-new material aswell as quotations from previous music) and alternative diatonic constructions. These suggestions, which donate to the creation of his identifiable and personal harmonic “audio,” are explored in his Dodecatonics. From 1988 to 1992, he was an associate from the council from the Sajudis (“Unity,” a multi-party coalition in Lithuania). From 1992 to 1994, he was the Lithuanian ambassador (the first after 50 many years of international guideline) to France, Spain, and Portugal (surviving in Paris). Balakauskas was still energetic in structure while involved in politics activity, creating the wonderful Ostrobothnian Symphony (1989), Polylogue for alto sax and strings (1991), Meridionale (1994) in homage to Lutoslawski, and additional functions. In 1996, Balakauskas was granted the Lithuanian Country wide Prize. Currently, he is mind from the structure department in the Lithuanian Academy of Music. His additional work contains the Requiem in Memoriam Stasys Lozoraitis for mezzo soprano, choir, and orchestra (sung in Latin) (1995); the Symphony No. 4 (1998); and Symphony No. 5 (2001).