Ivan Brkljačić (1977, Serbia) holds a BA (2001) and MA (2005) degree in the composition classes of Srđan Hofman and Zoran Erić at the Faculty of Music in Belgrade. In 2012, he successfully defended his doctoral art project, Istar: A Cycle of Nascent Musical Cartoons for Performance in a Theatrical Stage Set, under the supervision of Prof. Srđan Hofman. Works by Brkljačić have been performed many times in Belgrade and other cities in Serbia. Also, his works have been performed in Belgium, the Netherlands, Canada, Sweden, Brazil, the Czech Republic, Italy, Austria, Slovenia, Bosnia and Herzegovina, Poland, Ger-many, Croatia, Macedonia, France, Romania, Hungary, England, Australia, and Hong Kong.
Brkljačić has written music for numerous theatre plays, as well as the feature film Ustanička ulica (a. k. n. as “Redemption Street”).
Since 2005, Brkljačić has taught at the Music Theory Department of the Fac-ulty of Music in Belgrade (currently as an associate professor). He also serves as the Faculty’s vice-dean for teaching.
From 2007 to 2015, he served as the programming selector of the Interna-tional Review of Composers.

B-G-B-A rok for two baroque violins, baroque viola, viola da gamba, and harpsichord
I located the musical motive of this piece in the name of the ensemble (B-G-B-A-(rok)-G) and used it to shape the variation course of the entire piece. Starting with the initial motive, the movements (eight in total) follow one an-other, posited in a musical plane stretching from a baroque to a rock ’n’ roll idiom. This establishes a peculiar dramaturgical, historical, stylistic, and interpretative correlation between them. Among other such oc-currences, at the end of the fifth movement, there is a solo cadence for solo harpsichord (like a sort of rock solo improvisation), entirely shaped by the per-former. An element of improvisation, i.e. randomness is thereby added to the musical tissue – which is for the most part based on G as its tonal centre, that is, a chord consisting of g, b, d, f, g, and b-flat, with ambivalence between the major and minor third – which further enhances the correlation mentioned above.