Kristupas Bubnelis (b. 1995) is a Lithuanian composer with interests in microtonality, the dynamic interaction between timbre and time, and the poetics of decay. Praised for "decisive clarity and captivating harmonic brilliance"1 (Bernhard Uske, Frankfurter Rundschau), Bubnelis works with the textural and timbral shifts that form the core of his musical language. He focuses on the transitory states of sound and merges collage-like structures with fluid transformations, creating “a sense of fragile beauty, and unerring professionalism.”2 (Anna Veismane, ISCM)
Bubnelis has composed for a variety of ensembles, including symphony and chamber orchestras, as well as solo instruments. His works span multiple genres and media and have been performed internationally in countries such as Germany, Austria, Denmark, France, Indonesia, the UK, the US, Canada, and Switzerland. He won the Second International Eduardas Balsys Young Composers’ Competition in 2021. His collaborations include performances with renowned ensembles such as Ensemble Modern (Germany), Wet Ink Ensemble (US), Ensemble Caput (Iceland), and Quasar Saxophone Quartet (Canada), among others.
Currently, he is a doctoral candidate at Columbia University in New York City, studying under Georg Friedrich Haas. He holds a master’s degree from the Royal Academy of Music in London, where he studied with Rubens Askenar and Edmund Finnis, graduating with distinction and receiving the DipRAM Award. He also earned his bachelor’s degree from the same institution under the tutelage of Christopher Austin, where he received the G. V. Turner-Cooke Composition Award.
Bubnelis has participated in masterclasses and seminars with notable composers such as Unsuk Chin, Oscar Bianchi, Oliver Knussen, Harrison Birtwistle, Hans Abrahamsen, and Claus-Steffen Mahnkopf. His works have been featured at major international festivals, including the Lucerne Festival Academy (2023), California Festival (2023), World New Music Days (2024), and the International Young Composers Academy Ticino (2025).
Other achievements include the Lithuanian Composers' Union Prize (2024) for the best works in chamber orchestra and ensemble categories, as well as the Young Composers’ Prize and Best Chamber Composition Award (2022). His newly commissionedConcerto for Clarinet, Percussion, and String Orchestra will premiere at the Lithuanian National Philharmonic Hall in October 2025, following the release of his debut album, produced by the Lithuanian Music Information Centre (LMISC). In 2026, he will collaborate with the Lithuanian National Symphony Orchestra and International Contemporary Ensemble (US).
More information: https://music.columbia.edu/content/kristupas-bubnelis
Composer’s Note
The white matter in the central nervous system consists of a layer of myelin, whose colour resembles a soft, light purple. The choice of this colour name derives more from the lightness of the material than a strict scientific description. My focus, however, lies not in the scientific details but in the poetic imagery that inspired the musical ideas. The timbre of a string orchestra acts as a kind of mediator – an intermediary link between musical concepts and the listener. When this circuit is disrupted, our senses become distorted. What happens to our perception when certain senses are temporarily muted? How does the experience of the piece shift when strings are retuned? Personal reflections on the disorder of brain activity and nervous system function – especially during the pandemic – also influenced this work, rooted in an episode from my own life in which I gained a closer understanding of the nervous system’s structure.
Performing this piece requires precise execution of polyrhythmic textures. Dividing the metric accents into smaller subdivisions and shifting note groupings can be seen as a compression of time or a form of written ritardando. It is a kind of fluctuating density within the music’s temporal fabric. Slurs crossing multiple bars indicate that bowing changes are left to the musician’s discretion, allowing for expressive flexibility. Conversely, when a slur connects a specific number of notes, it must be observed strictly to preserve the intended accents and groupings.
For the lower strings, such as cellos and double basses, it is advisable to memorise the positions where the natural harmonics sound most sonorous. Especially for the higher overtones (seventh or eleventh), preparatory work is essential. Dynamic markings are approximate and serve primarily to set the overall acoustic context of the piece. Interpretation may vary depending on the acoustics of the performance space and the positioning of the orchestra.