Srđan Hofman was born in Glina 1944. He obtained a diploma on the studies of composition on the Faculty of musical arts 1967 in the class of Professor Stanojlo Rajičić, where he also got his M.A. degree in 1972.
He was on advanced study trainings in 1974 in Darmstat, and in 1975 in Stutgart and in Köln. He began his pedagogic career in the Musical school Josip Slavenski 1968. Since 1974 he worked as assistant on the Faculty of musical arts. He was elected as professor in 1994. He founded tone studio of the Faculty of musical arts. Along with composing, he is practicing theoretical work related to issues of contemporary music.
Since 1967 his works were performed in the country and abroad, for which he received many awards.
There is a great number affirmed artists who were educated through the class of Srđan Hofman, and they actively participate in arts and culture of the country.
In the period from 1983 to 1989 he performed duty of vice rector of the Faculty of musical arts, and since 1989 to 1998 he was a dean of the Faculty. For the moment he is the vice rector of the University of Arts in Belgrade. Since the year 2000 to 2006 he performed the charge of the executive and plenipotentiary Ambassador of FRY in the Republic of South Africa.
- Musica concertante
Musica concertant for piano, thirteen strings and electronics was written late in 1993 and it is dedicated to my daughter Neda. Therefore, one can probably feel in this music something of the sensibility of modern day urban teenagers, or rather, my attempt to approach the sensibility of this age group. Even though it is always new for every individual and every generation, there are some common features of this age group which are present at all times and which we all recognize in our memory.
Musicaconcertante is based on one harmonic pattern, built of six chords which are displayed in different ways and with numerous and significant changes of the harmonic rhythm. The parts of the composition are the following: Intrada – Interludio A, Intrada – Interludio B, Intrada – Interludio C, Intrada – Interludio D, Intrada – Interludio E, Interludio F, Interludio G, Episodio, Toccata and Coda.
The use of the solo instrument and the chamber string orchestra represents a paraphrase of the concertante tradition, and the electronic part, which serves as another ’orchestra’, was recorded in the Sound Studio of the Faculty of Music, using synthesized sounds and eletronically modified samples of sounds of mandoline, cymbal and dudurejš.