Born in 1932, in 1964 he graduated from the Lithuanian Conservatory in Vilnius, where he studied composition with Antanas Raciunas. He currently holds the position of professor of composition at the Lithuanian Academy of Music in Vilnius. He was honoured with the Lithuanian State Prize (1987) and the Lithuanian National Prize (1995). His music is regularly performed at various festivals including 'Warsaw Autumn', 'Probaltica '96', 'Wratislavia Cantans', 'Musica' in Strasbourg, 'Mare Balticum' in Finland, 'De Suite Muziekweek' in Holland, Huddersfield Contemporary Music Festival, Vale of Glamorgan Festival, 'Baltic Arts '96' in Great Britain.
Kutavičius is one of the most important Lithuanian composers, writing music modern in spirit but at the same time deeply rooted in the rich Lithuanian tradition. In his works he reflects the history and rituals of his native country (Pantheistic Oratorio, Magic Circle of Sanskrit, 'gates of the world', four pieces referring to the culture of North, South, East and West, symphony-oratorio Epitaphium tempori pereunti) creating in this way music which is both Lithuanian and universal. And the inspiration of archetypal Lithuanian song gives Kutavičius's music depth and authenticity.

Selected works (since 1980): String Quartet No. 2 'Anno cum tettigonia' (1980), Thrash, the Green Bird, opera-poem with libretto by Sigitas Geda (1981), Debate with a Stranger, concerto for two pianos and tape (1982), Ad Patres for organ (1983), From the Jatvingian Stone, oratorio for vocal ensemble and old folk instruments (1983), The Tree of the World, oratorio for mixed choir, vocal ensemble, wind orchestra, organ, percussion, piano and old folk instruments with poems by Sigitas Geda (1986), Clocks of the Past II for 13 instruments (1988), Cranes' Dances, sonata for clarinet and piano (1989), Magic Circle of Sanskrit for instrumental ensemble and actor (1990), I Northern Gates for percussion and string orchestra (1991), II Eastern Gates with text by Yosa Buson for three reciters, violin, viola, guitar and two pianos (1992), Three Sonnets by Adam Mickiewicz for soprano and string orchestra (1992), III Southern Gates for orchestra (1994), IV Western Gates with text of Stabat Mater for solo voice, mixed choir, organ and strings (1995), Gates of Jerusalem, cycle of four compositions (1992-95), Far away, until midnight for five saxophones and five strings (1995), Pronounce a word - lips turn into ice... for trumpet, trombone, piano and chamber choir (1996), Der Kampf der Baume for soprano, flute, oboe, cembalo and organ (1996), Erotics with texts by Stasys Eidrigevicius for recorder, horn and tape (1997), Epitaphium tempori pereunti for mixed choir and symphony orchestra (1998), The Bear opera with libretto by Ausra Marija Sluckaite-Jurasiene (2000), Stasys' Eight Miniatures for flute, violin and viola (2000; version for violin, cello and piano, 2002), Vita et Passio Sancti Brunonis for mezzo-soprano, mixed choir and orchestra (2002).

Clocks of the Past I. Bronius Kutavičius does not reproduce serial music rules in a dogmatic fashion. He is much more interested in the way momentary events, fingering and bowing techniques can be combined to produce contemplatively fragile sounds. His interest in serial music has also to do with the use of time; something which may have influenced his choice of the work's title. To keep close to the metaphors suggested by the composer, the time parameters (for instance in the first movement The Sundial) help to produce shadows by the guitar, to narrow or to expand them. In the second movement, The Hour-Glass, noisy repetitions and tremolos illustrate the grinding and falling of the tiny grains of sand. The textures begin to flow into one another. A quasi-tamburo in the guitar is overtaken by pizzicato trills and harmonics. After a return of the texture of the first movement a motif in thirds comes into its own. The work finishes with a tableau of overtones.
Eberhard Hüppe (transl. Lawrence Dean)