Milana Stojadinović-Milić completed her undergraduate and graduate studies at the Faculty of Music in Belgrade in the class of Aleksandar Obradović. She is assistant professor at the Music Theory Department. Her compositions have been performed at festivals and concerts, broadcast on radio and TV, at home and abroad in Croatia, Slovenia, Bosnia, Macedonia, Montenegro, Italy, France, Germany, Bulgaria and Greece. She has won awards for her creative achievements: “Vasilije Mokranjac” (twice) “Josip Slavenski”, October Award for students… She composed works commissioned by the Belgrade Music Festival (wind quintet Kaleidoscope, 2001), Cello Fest (cello trio EOL, 2008) concert project Tango after Piazzola (Tango sentimental for bandoneon, violin, double bass and piano), and by soloists and chamber ensembles (Teardrops– a song cycle for voice, flute and piano); Neoromantico, trio for flute, violin and piano, Slice of the Meantime…). The compositions of Milana Stojadinović-Milić Dream for flute and piano, as well as the symphonic works Aurora borealis and Mimicry have been repeatedly performed at home and abroad.
Slice of the Meantime
The book by Dušan Radić In the Shadow of Hermes – A Collection of Longtime Dreaming inspired Milana Stojadinović-Milić to write two works dedicated to the trio Donne di Belgrado: the cycle Teardrops (2003) and Slice of the Meantime (2005). The composer Dušan Radić employed the collage technique in order to “translate“ the prose (and poetry) of many authors (from St. Sava, to bishop Nikolaj Velimirović, Desanka Maksimović, Crnjanski, Pavić, to Rimbaud, Nietzsche and others) into a “scheme of free verse, so that the content might well be dreamt”. If poetry thus achieved offers an escape into dream, then in the opinion of Milana Stojadinović-Milić, “the texts of Enriko Josif are where the collage scissors are least needed. His music, his way of thinking, orations, writings, even the unforgettable slow gait as he walked through the park adjacent to the Academy… all that was so poetic. Thus, it is possible that such verses, being a kind of music in themselves, do not need an additional musical component. None the less, it is there, with its nocturnal character, its unpretentious circular course of music which dissolves on three levels the fused lines of voice, flute and piano, to fill in the slice of the meantime…”