Svetislav Bozić (1954) is the Professor at the Academy of Music in Belgrade. His work is focused on preservation and revival of two vital fields of musical tradition: spiritual and secular, both choral and symphony orchestral music. The most important works: the Mosaic from Raska for piano and orchestra (1996), Last love in Carigrad (Constantinople) symphonic poem based on the novel by Milorad Pavić (1998), Dance from Radocelo symphonic poem (1988), Capadochian vigil simphonic poem for piano and orchestra (1991), Athos Lyric for piano (1988), Light Master’s dream - dedicated to the memory of Nikola Tesla, for two pianos.
His music of undoubtedly consistent program direction reveals certain toponimity, a path probably trodden by peoples and their tunes; it is not a mere reproduction, but a personal revision of the feeling the most profoundly marked in the very essence of our Religion.
Serbian literary works, and particularly poetry, represent an important basis of Božić’s music. This led to the creation of musical pieces inspired by the lyrics of Despot Stefan Lazarević, Venclović, Pavić, Nastasijević, Crnjanski, Dučić, Medaković and Bojić.
His Credo is the most clearly reflected in the spiritual pieces for mixed choir: Liturgy of Saint John Chrysostom, Requiem in G Sharp Minor, All-Night Vigil, Passion Week.
The music of Svetislav Bozić has been played in Cyprus, Greece, Bulgaria, Ukraine, Hungary, Italy, Switzerland, France, Spain, Belgium, England, Germany, USA, and especially in Russia, where his works have been performed by the Saint Petersburg choir and orchestra Capella (Glinka); and Men’s Choir Saint Petersburg; and by the Ukraine State Philharmonic Orchestra from Zaporožje; and by the Oxford Philomusica from London (Patron Vladimir Ashkenazy).
Serbiafor mixed choir a capella was written in 1990 and it is based on the lyrics of Miloš Crnjanski. It follows the thread which has exhisted in Serbian artistic music since Stevan Mokranjac up till today. Looking towards the destiny, towards the eschatological finity of Serbian people, this song lives in the music which is similar in means and expression to the character and form of Opelo (ortodox counterpart to Requiem).