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Jasna Veličković LAST SONG: Last Song (2009-2010) was written as part of my ongoing investigation into playing the instruments without touching them. In this work performers use hand-made electronic devices (coils) which excite kalimbas and mbiras. Kalimbas and mbiras become a resonating body whenever the coil is close, as well as bodies that change the original material since it's own physicality is compromised. Transformation, resonance and personal reading of Richard Strauss’ Last Song Im Abendrot, is the main subject of the piece. This piece was written for percussion quartet Ear Massage and financially supported by FPK BIOGRAPHY: Jasna Veličković [Belgrade, 1974] studied composition at the Faculty of Music in Belgrade in class of Srdjan Hofman. She continued her postgraduate studies at the Royal Conservatory in The Hague in the classes of Louis Andriessen, Gilius van Bergeijk and Clarence Barlow graduating with distinction. Her recent works such as Last Song and Shadow Studies focuses on sound extension of traditional instruments by using the hand-made electronic devices. Her music material often derives from existing music pieces shadowing or looking awry to the original. Her works has been performed at festivals such as A-devantgarde, Archipel Festival, Aspekte, Biennale Zagreb, Gaudeamus Music Week, Holland Festival, Manca, Time of Music, by ensembles such as Piano Possibile, Le Nouvel Ensemble Moderne, Ensemble Aleph, Belgrade Philharmonic Orchestra, Ear Massage, Ensemble MAE, Ensemble Klang, de Ereprijs, Dutch Radio Kamerorkest. She won the 28th Irino Prize (2007), Slavenski Award (1998), the first prize at the 5th International Review of Composers in Belgrade (1996), and was nominated twice for the Mokranjac Award (2001, 2004). Jasna Veličković is co-founder of CHINCH – Initiative for Research and Production of Contemporary Music, “Live” and Visual Arts. Branka Popović IN NUCE: in nuce = in a nutshell; short, concise The piece was inspired by Stephen Hawking's book “The Universe in a Nutshell”. BIOGRAPHY: Branka Popović (1977, Belgrade) graduated from Musicology and Composition departments (composition studies with Zoran Erić) of the Belgrade Faculty of Music. She obtained her Master of Music Degree in Composition at the Guildhall School of Music and Drama (composition studies with Judith Bingham). She stayed for another year at the Guildhall as the Composition Fellow. Currently she is finishing her doctorate studies in composition at the Faculty of Music in Belgrade (composition studies with Zoran Erić). Her piece Dream (I. S. o. F) for clarinet, violoncello and piano won a prize at the Summer Music Academy Budapest-Prague-Vienna where she studied composition with Gyula Fekete. She was one of the finalists of the Canterbury Festival Commission competition 2005, took part in Stephen Gutman's project What Strikes the Clocke? and in workshop with the BBC Singers devoted to new choral music organized by John Armitage Memorial Trust in 2006. Her pieces were performed at International Review of Composers, KOMA Festival of New Music, Guildhall New Music Festival, City of London Festival, Sir Harrison Birtwistle Festival, Festival Brass Spectacular. She was awarded for the best music in film for “The Breaking Point” (directed by Igor M. Toholj) at the 56th Belgrade Short and Documentary Film Festival (2009). ANJA ĐORĐEVIĆ EVIAN IN SPRAY: Evian is signifier of a moment where time stops and where one remembers ones own childhood. There is a memory of my mother singing to me Italian “canzona” or French “chanson” and there is memory of the sound of her voice. Evian is a “safe” place, an oasis, a glitterin, cherished source. By returning to the source, by reliving it, we can try to step into something new and to discover some new qualities. Written as a standalone vocal work, using the words of a poem by contemporary Serbian poet Marija Stojanović, it soon inspired a making of a whole scenic cantata named “Atlas”. Evian in Spray could be performed as a single composition or as a part of the cantata. BIOGRAPHY: Anja Đorđević was born in Belgrade in 1970, and she studied composition with professors Vlastimir Trajković and Zoran Erić. In 2003 she was presented the Mokranjac Award for the opera Narcis i Eho [Narcissus and Echo], which is also the first contemporary and staged opera by a female composer in Serbian music. From 1994, she performed with double-bass player Vojin Draskoci, within Musical Synthesis project. During the 1990s, on several occasions, she cooperated with Goran Bregović, both as singer and musical arranger. In the period from 2000 until 2004, she was a member of Balkan music ensemble Marsija, founded by Žorž Grujić. The ensemble recorded an album entitled High Tree, which was published in 2003 by PGPRTS. In 2003, together with fellow composers Božidar Obradinović (piano) and Vladimir Pejković (bass), she founded Flat Sky Trio, which performed its original written music with minimum improvisation. Her music art is essentially focused on vocal music and musical theatre. With this purpose, she made many songs and cycles: opera Narcissus and Echo, stage cantata Atlas, three songs dedicated to Nikola Tesla, standalone vocal pieces - Si me quitaran, Heat, Shark, Spray of Evian, multimedia performance Classifieds, musical Life of Jevrem, Tesla-total reflexion etc. Some of her compositions were inspired with old Serbian music. In 2005, she was composer in residence at Visby, Gotland, Sweden. She lives and works as a freelance composer in Belgrade