Anica Sabo (Serbia) was born in Belgrade. She graduated (1980) and obtained her master’s (1986) degree at the Department of Composition of the Faculty of Music in Belgrade and for two years she studied at the Department of Wind Instruments (bassoon). She also completed her doctoral studies (2007) at the Department of Art Theory and Media of the University of Arts in Belgrade. She is Associate Professor at the Department of Music Theory of the Faculty of Music in Belgrade. She has lectured by invitation at other institutions of higher education (Novi Sad, Kragujevac, Cetinje and Academy of Fine Arts in Belgrade). Her work focuses equally on composition and music theory. As a composer, she creates in the field of orchestral music but is primarily oriented toward the chamber sound. Her work in the field of music theory and analysis focuses on different aspects of musical form. Specifically, she examines the question of the manifestation of symmetry in musical form, while the study of Serbian music represents an important part of her work.
The piece Nikomur ne povem ( Nikome neću reći /I shall say to no one) was composed to the lyrics by contemporary Slovenian poet Barbara Korun (1963). The poem was published in 2004 in the collection Razpoke (Pukotine/Ruptures) and it could be argued that this very poem defines Korun’s poetry. These poems were written in the way that does not reveal their meaning to the reader directly, so the secretiveness and enigma of her poetry open the wide range of possible interpretations. One of those was expressed by the piece Nikomur ne povem for mixed choir, flute, violin, viola and violoncello.
The poem Nikomur ne povem that addresses numerous hidden questions, points to the enigmatic dreams and mysterious premonitions, turns out to be a real challenge in discovering the sense of this poetry. The moments of uncertainty and inapprehensible secrets of which it talks are being expressed in standard mixed choir sound, the instrumental ensemble being the integral part of that narration. The poetic level of the instrumental ensemble is especially accentuated in somewhat detached flute sound. In the intricate labyrinth of polysemic narrative one more Slovenian children’s song has been introduced. The piece is dedicated to conductor and theoretician Miloje Miša Nikolić.