Nataša Bogojević studied composition in Belgrade with Srđan Hofman at the Faculty of Music. She also studied piano, chamber music, electronic and computer music (with Vladan Radovanović at the Radio Belgrade Electronic Studio) and attended Master Classes for Film Music (with Ennio Simeon). Before immigrating to America she worked as Assistant Professor at the University of Music in Belgrade, Dept. for Composition. She was also a collaborator in Belgrade TV – Cultural Production. She participated in founding The Magnificent Seven group of composers and founded group Gretchen to explore the synthesis of music and visual arts.

She is the recipient of many awards for composition in former Yugoslavia (October Prize, Josip Slavenski, Radio Belgrade, Association of Composers of Serbia…) Awarded the top prize at the UNESCO’s Rostrum of Composers in Paris, her chamber composition FORMES DIFFERENTES DE SONNERIES DE LA ROSE+CROIX was broadcast throughout the world. She received numerous commissions and attended festivals such as: European Festival of Experimental Music (led by Pierre Schaeffer, France); Beyond Biography, Gaudeamus, New Music in Middleburg (Netherlands); International New Music Festival (Slovakia); Europhonia, Gedok New Music (Germany); Concerts for Peace (Japan); New Music Forum (Ukraine); Arrai Music Festival (Canada); National Conferences of American Music etc. Her compositions include works for symphony orchestra, solo instruments, chamber ensembles, choral and vocal pieces, ballet and numerous scores for film and stage music. Music by Nataša Bogojević was performed by major soloists, ensembles and orchestras in former Yugoslavia, Greece, France, Germany, England, Switzerland, Republic of Slovakia, former Soviet Union, The Netherlands, Belgium, Sweden, Norway, Denmark, Finland, Australia and Canada. Most recently her music was performed by the Munich Versus Vox Ensemble, New York Miniaturist Ensemble and she composed original music for Chicago Theatre Productions and indie feature films Where It Gets You and Black Mail.

Since 2003 she has been on the faculty of De Paul University in Chicago. She also teaches piano and composition from her private studio Musica Natasha. Her biography appeared in The World of Woman in Classical Music by Dr. Anne K. Gray, Seven Locks Press (March 2007).

At the moment when I received the invitation to compose for the New York Miniaturist Ensemble (dedicated to performance of pieces with up to 100 notes), I had the impression that premieres of contemporary art music are only copies of forms already used in the past. The text of writer Hurt McDermott that was entitled Composition Without Title describes the impression of condition of my state of spirit in Western World where “I” means “Music”.
“I am a fool
I’m nothing
I am only a double.”

As oratorio is probably the most complex vocal and instrumental form, wich predominently epic and dramatic character, the need to create something new and original has led me to the idea of a miniature oratorio which consists of solely 100 notes but has all the parts of big oratorio: the story is narrated by Storicus (Prologue and Epilogue are syllables of the word Oratorio), than follow instrumental Overture, Aria, Duo, Recitative, Orchestra, “Choir” (performers take its part) and Finale.

The composition was premiered in New York on August 31st 2005 by TheNewYorkMiniaturistEnsemble.

Disappointment Regained
Music material of the miniature for string quartet was taken from the composition Opus Alchymicum which has been successfully performed in ‘90s, but pulled from concert stage by the composer herself like many other compositions from the past.

This composition can be performed autonomously, but also within the circle Consolation Disappointment, C/D with the first movement entitled Disappointment Postponed.

Emotional conditions are in its experience as powerful as music itself, nevertheless being abstract when we want to explain them. In the game of emotions and words these titles can be interpreted if we accept that the hope is frustration, i. e. disappointment in its original shape.

Composition C/D was written as commission of String Quartet Amarone for the celebration of 190th Anniversary of Brandenburg Theatre. It has been performed with great success in this theatre on October 6th 2007.