Jugoslav Bošnjak (1954, Serbia), composer and music producer at the Symphony Orchestra and Choir of the Serbian Broadcasting Corporation. Bošnjak holds a Master of Arts from the composition class of Prof. Rajko Maksimović at the Faculty of Music in Belgrade.
Composed over the course of his long artistic career, now spanning 35 years, his most notable works include the following: Alef (Aleph), a symphonic poem; Himera (Chimera), a poem for violin and orchestra; Tibetanska knjiga mrtvih (Tibetan Book of the Dead), a fantasy for symphonic orchestra; 1453, an overture; Kraljeva jesen (The Autumn of the King), a ballet; Otkrovenje Sv. Jovana (The Revelation of St. John) for solo trumpet and mixed choir; Pasija po Marku (St. Mark Passion, an oratorio composed for the 1996 World Music Days); Tri pesme (Three Songs) for trombone and orchestra; Concerto for Piano and String Orchestra (BEMUS 1999); Simfonija pasakalja (Passacaglia Symphony); Knjiga o Jovu (The Book of Job), an oratorio; Muzika tišine (Music of Silence) for guitar and string orchestra; and Svemir (Universe) and Veliki Prasak (Big Bang) for symphony orchestra.
In the domain of solo and chamber music, notable works by Bošnjak include Trio Variations for clarinet, violin, and piano; Sećanje (Memory) for harpsichord; Sudba (Destiny) for soprano and string quartet; Akvarel (Watercolour) for two pianos, timpani, and vibraphone; Maska sećanja (Memory Mask) for string orchestra; Leta (Summers) for clarinet, violin, and piano; etc.
A CD with a selection of Bošnjak’s music, titled Orkestarska i horska kosmogonija Jugoslava Bošnjaka (Jugoslav Bošnjak’s Orchestral and Choral Cosmogony) was released by PGP RTS.
Veliki prasak (Big Bang) for orchestra was written in 2016 as a natural sequel to Svemir (Universe), which won the 2016 City of Belgrade Award.
The piece represents the author’s musical vision of the event, which took place more than 13 billion years ago, when the infinitude of visible space emerged from a tiny core. The title itself suggests a dynamic and “sparkly” approach to orchestration, especially in the treatment of the brass section. The work includes an introduction and coda, which constitute the reflective and emotive segments of the piece and reflect the author’s position. The middle section is in a fast tempo and is a direct reference to the subject provided in the title. Of course, it is impossible to convey such a huge moment of Genesis by musical means. But the challenge was such that after 35 years of dealing professionally with symphony orchestras I could not resist it.