born in 1976, he studied composition with Julius Juzeliūnas at the Lithuanian Academy of Music and Theatre from 1994 to 1999. As chairman of the Youth Section of the Lithuanian Composers’ Union since 2000, he was engaged in diverse activities devoted to promoting young Lithuanian composers and their work, including the organisation of the annual Druskomanija Festival (Youth Chamber Music Days in Druskininkai). He also organised the new music festival Bendras Faktorius held in Vilnius in 2000 and 2001. His works have been performed at contemporary music festivals including Jauna Muzika (2002, 2003, 2008), Kopa (1998), Gaida (2007, 2009), Permainų Muzika (2008), and Iš Arti (2008). From 2000 to 2006 he worked as a sound engineer in the State Youth Theatre in Vilnius. Since 2008 he is a member of the electronic music collective DIISSC Orchestra. Their debut album D.O., released in the same year and including notably Bialobžeskis’s CD in C(D) for viola and electronics, was awarded Best Electroacoustic Work at the composers’ competition organised by the Lithuanian Composers’ Union.
The music of Martynas Bialobžeskis falls under four broad categories: academic, theatre, club music, and experimental, with none of them taking the lead. These different areas of composition often interact thus blurring the established boundaries of genres and styles. He made his debut as a theatre composer while 17 years old and has since cooperated with different Lithuanian theatre directors. He began fusing academic and popular music in his student years, cooperating, since 1997, as an author of music and lyrics with various Lithuanian pop and electronic music groups. Even when writing for chamber and symphony orchestra, he employs rhythms, modes, harmonies, and the emotional drive characteristic of contemporary dance music (such as in the works Separations, Symphom, As If Pressing Play, e-Sax, etc.). The most organic synthesis of academic and pop music is achieved in his incidental pieces for theatre, which often assume the shape of stylistic collage (for instance, the juxtaposition of cabaret, club music, and experimental electronics in the drama performance The Chronicles of Livelong Days and Livelong Nights). Martynas Bialobžeskis claims that he is definitely not one of those composers who like to “calculate” their music. Instead, he seeks a balance between feeling and intellect, freedom and structure, music and text. In his works, he tries to retain the sense of a game, often conveyed in the titles of his works, always implying a possibility of different readings.

Major works: Sketches of Dreams for clarinet, violin, viola and cello (1995), Triptych for choir (1997), Separations for string orchestra (1998), Radio CMB for trumpet and tape (1998), Symphom for orchestra (1999), Circus for voice and electronics (2000), Circus II for two saxophones and tape (2001), e-Sax for two saxophones and tape (2002), Home House for voice, marimba and tape (2002), Stella Hermetica for tape (with Jonas Jurkūnas, 2007), CD in C(D) for viola and tape (2008), I Am for tape (with Jonas Jurkūnas, 2008), Re: Re: ... for flute and tape (2010), Mono – Duo I for violin, piano and tape (2011), C(J) in C(G) for voice, trumpet and string orchestra (2012), Season of Sun for narrator, saxophone and string quartet (2013).