Nearly twenty years after the first edition of the catalog and approaching the 150th anniversary of Mikalojus Konstantinas Čiurlionis's birth, the need naturally arose to once again review and update the catalog of his musical works. Unlike previous systematizations of Čiurlionis's works by opus or genre, this catalog is based on a chronological principle. This approach has allowed for a detailed panorama and...

Nearly twenty years after the first edition of the catalog and approaching the 150th anniversary of Mikalojus Konstantinas Čiurlionis's birth, the need naturally arose to once again review and update the catalog of his musical works. Unlike previous systematizations of Čiurlionis's works by opus or genre, this catalog is based on a chronological principle. This approach has allowed for a detailed panorama and dynamic of his entire creative journey to unfold. The catalog's release in 2007 provided a significant impetus for both Lithuanian and foreign music researchers and performers.

First and foremost, the catalog enabled the identification of previously unrecognized cycles of piano music (Janeliauskas 2010), discovering new parallels and connections with European and world (primarily Eastern) cultural contexts (Nunokawa 2017), and it encouraged bolder attempts at reconstructing unfinished works. Significant progress was made in this area, leading to the reconstruction and first performances of several major works by Čiurlionis, such as the Sonata for Violin (DK 23, reconstructed and performed in 2006 by Aidas Strimaitis and Rokas Zubovas), Symphony No. 1 (DK 109, reconstructed by Jurgis Juozapaitis in 2010 and published by "Naujasis lankas" in Kaunas in 2011), the symphonic poem Dies irae (DK 330, reconstructed by Giedrius Kuprevičius in 2015 and performed by the Kaunas City SymphonyOrchestra), and the symphonic poem The Creation of the World (DK 249, reconstructed by Arvydas Malcys in 2015 and performed by the Lithuanian National Symphony Orchestra).

A new numbering system for Čiurlionis'ss musical works (DK) was introduced, which has been adopted in sheet music publications, recordings, and concert programs. It has also been integrated into the regulations of the International M. K. Čiurlionis Piano and Organ Competition. Most importantly,the new numbering allowed for the identification and inclusion of around 100 new Čiurlionis musical entries (works or sketches) that, for various reasons, were not previously mentioned or included in earlier Čiurlionis catalogues. [...]