Tatjana Milošević (Serbia) completed her B.A. and M.A studies of composition at the Faculty of Music in Belgrade under the supervision of Prof. Zoran Erić, who also supervised her doctoral artistic project, which she successfully defended in 2013 a two-act chamber opera titled Ko je ubio princezu Mond? (Who Killed Princess Mond?). She now teaches as an associate professor at the same department. She also teaches at the Academy of Art (Akademija umjetnosti) in Banja Luka, as a professor of composition. She also worked as a visiting professor at Old Dominion University in Norfolk, Virginia (USA). She participated as a lecturer and member of the jury in the young composers’ course at the 15th Young Composers Meeting in Apeldoorn (Netherlands).
Works by Milošević have been performed at a number of major festivals and concerts of contemporary music in most countries of Europe, the United States, South Korea, as well as Serbia and the region (BEMUS, NIMUS, International Review of Composers, Music Biennial Zagreb…). She has collaborated with numerous Serbian and foreign performers and ensembles. From among her extensive oeuvre, one should certainly mention the following: Sjaj Betelgeza ili tajna crvenog džina (The Lights of Betelgeuse or the Secret of a Red Giant), the piece with which she represented Serbia at the 1997 World Music Days in Seoul; CoinciDance, a ballet, which the Orkest De Ereprijs performed at the 2009 Groeten uit Arnhem festival; Spyro, a piece premièred by the Zagreb String Trio at the 2002 BEMUS festival; Buzzle, premièred in 2000 on the jazz stage of the Bimhuis in Amsterdam, as part of New Blues for Piano, a project by the Dutch pianist Marcel Worms; Green with Buzz and Ludus Mimesis, two symphonic pieces, etc. Supported by UNESCO, she took part in Waterproof, a project that also saw the performance and publication of her electronic piece titled Tribute for Fort Hosnwijk in 2001. Milošević has won a number of Serbian and foreign awards for music creativity.
When You’re Left by the One You Love for mezzo-soprano, violoncello, piano, and electronics
The piece is a setting of an eponymous poem by Branislav Petrović from his collection of poems titled Gradilište (Construction Site). It comprises four sections. The opening and concluding sections correspond to each other thematically and texturally, forming large-scale arcs of tension, while the remaining two sections bring about a deceleration and softening of the work’s musical flow. The electronic part, apart from violoncello samples, is dominated by non-musical samples, such as those of heartbeat, vital functions monitors, breathing, the blowing of the wind… In line with the procedure pursued in the structure of Petrović’s poetic text, the vocal part insists on repeating melodic-rhythmic phrases with small transformations at unequal intervals of time.
The work was commissioned by the Construction Site Contemporary Music Ensemble.