Prof. Renata Bilbokaitė’s New Kanklės Music Album – A Dedication to Lithuania

The Day of Restoration of Independence of Lithuania is a special occasion to reflect on the nation’s roots, history, and culture. This year, the celebration is marked by an exceptional musical project – the release of "Viltis" ("Hope"), a new album by Professor Renata Bilbokaitė, Director of Vilnius University Šiauliai Academy. The album is a sensitive and authentic collection of folk compositions that revive the sounds of the past and infuse them with a new meaning; each track is performed on the traditional kanklės – a Lithuanian plucked string instrument. We spoke with Prof. Bilbokaitė about the album’s idea, the creative process, and the significance of kanklės music in today’s world.

How did the idea of creating the album "Viltis" come about, and what is the story behind its title?

The idea emerged as I accumulated a collection of my created pieces. After performing some of them, the kanklės composer and performer Žemyna encouraged me to record an album to preserve the music and share it with those who appreciate this genre.

I also shared my compositions with the professional kanklės player Kristina Kuprytė, who continuously motivated me to create more. Not many musicians play such ancient instruments, and we have a limited repertoire. The decision to release the album came when I realised that composing this music was a kind of liberation for me, and loving this music was also an expression of freedom.

Kanklės music deserves to be widely heard because it connects us to our roots – remaining present and honouring our heritage is very important, as it fosters vitality and inner clarity. While recording the album, I played the special kanklės crafted by master Albertas Martinaitis and made from the wooden arches of Šiauliai Boulevard. It was also a tribute to him for the hope he once gave me – a hope that has now taken the form of this album. It is important to note that the traditional kanklės has been unreasonably undervalued as a musical instrument. Perhaps this album, along with those by other creators, will inspire listeners to rediscover its beauty and sound. I hope it encourages more people to learn to play the kanklės and deepen their connection to their roots and cultural heritage.

The kanklės is a very symbolic and ancient instrument. Why did you choose it?

The kanklės is a part of our ancient culture. We talk so much about sustainability, yet we often forget that we must also preserve and nurture what is culturally significant, as many elements of our past have already been completely lost. I see the kanklės as an inheritance from my ancestors – so, how could I not play this instrument? We often cherish rings or pictures passed down from our grandmothers and great-grandmothers, but we overlook the fact that the kanklės is a legacy that also belongs to us.

I believe that the kanklės thrives in the hands of a musician and has a liberating effect. It is a therapeutic instrument – people used to enjoy playing it individually, with their families, and in communities. I wish that as many people as possible would experience the joy of playing it.

There is still a stereotype that the kanklės can only be used to play traditional compositions, which may not always resonate with people. It is worth dispelling these creativity-limiting beliefs – the kanklės can and should be played as a means of expressing oneself, reflecting what we carry within.

The album is dedicated to Lithuania and its Restoration of Independence Day. What message do you want to convey through it?

The album’s title track, "Viltis", meaning hope, was created during the onset of Russia’s war against Ukraine. The name of this piece was carried over to become the title of the entire album. For me, it became a beacon of light and a reminder to hold onto hope, to believe, and to cherish what we have. We often rush through life, treating significant dates as the only occasions to pause, reflect, and give some attention to what we overlook in our daily lives. The Day of Restoration of Independence of Lithuania is a profoundly important occasion for the country and its citizens. Yet, it is even more vital that we recognise what internal freedom is for each of us individually. What does it mean to feel truly free as a person? What prevents me from feeling, thinking, and expressing myself? How can I achieve inner harmony and radiate it outwards? Choosing to play the kanklės rather than the increasingly popular ukulele is also an act of freedom and a kind of assertion of our right to be where we want to be, embracing the rare moments of stillness in the whirlwind of work and our busy lives.

"Viltis" is an album about the idea that, despite various circumstances and emotional states, God sends us hope, as we are all, without exception, worthy of unconditional Love, all-encompassing goodness, harmony, and grace. For me, freedom is about this unconditional love that we are learning to experience and share as we fearlessly walk our own paths, holding onto the hope that we will one day discover the inner paradise we all long for.

Were there any special inspirations or moments that shaped the album?

Yes, definitely. The album tracks were composed over two years, each shaped by life events, emotional states, and an enduring belief in the power of hope. Every composition has its own story. However, as music is melody, not words, I’d rather that listeners hear it in their own way and interpret it without knowing the specific factual circumstances behind each piece.

What was the creative process like? Did you face any challenges while creating this album?

The creative process involved several stages, each with its own challenges: composing, performing, revising, and finally, production. Melodies emerge very naturally – a musical piece is born, or it isn’t, and there is very little rationality involved. The songs arise from an inner state, a strong urge to play; the melodies just seem to flow through my fingers. Sometimes, several melodies emerge during a single evening; other times, the kanklės remains silent for months. It is very important for me that the music is felt, experienced, reflected upon, and understood. Both the melody and the underlying thought must have a meaning. Recording a piece is a quick process, but the preparation and rehearsing take time and need to happen at the right moment so that the composition sounds and conveys the desired state; the process requires a specific mood, time, and preparation. After recording, there is always a significant pause, as the pieces need to rest in a vacuum. I revisit them months later to ensure they still resonate before including them in the album.

How do you expect the audience to respond to the album?

Since it is not popular or mainstream music, I have no expectation of mass interest. The recordings are raw, without any filters or effects; the music is conceptual and richly imbued with ethnic symbols and sounds. So, I think it will attract listeners interested in ethno, conceptual, and therapeutic music. I hope the album features songs that will resonate with the audience.

What’s next? Do you plan to continue exploring kanklės music, or are you considering new projects?

I compose music not only for the Lithuanian kanklės but also for the Latvian kokles. The instruments are very similar, but the Lithuanian kanklės has a richer, fuller, and earthier sound, while the kokles evokes more of a fairy-tale-like tone – they are more mysterious, subtle, and delicate, piercing deeper into the essence of being. The compositions can be performed on the Lithuanian kanklės and the Latvian kokles, but the sound will undoubtedly differ. As I have a deep affection for both of these ‘sister’ instruments, another album is on the way, featuring compositions played on the Latvian kokles.