Friday, November 23, 2007

At 6 pm, Belgrade Philharmonic Hall - FORMAL OPENING

  • Božidar Obradinović: Tango / Mirjana Agbaba, violin, Ognjen Popović, alt sax, Veljko Klenkovski, bass clarinet, Neda Hofman, piano, Slobodan Gerić, double bass, Ivan Marjanović, percussion, Vladimir Pejković, accordion, glockenspiel
  • Tatjana Milošević: Тhe Splendor of Betelgeuse or the Secret of the Red Giant / Dejan Božić, Aleksandar Latković, Goran Mrđenović, and Nebojša Mrđenović, cellists, Neda Hofman, piano, Tea Dimitrijević, harpsichord
  • Jovana Stefanović: Thoth / Мarina Nenadović, flute, Veljko Klenkovski, clarinet and bass clarinet, Mihajlo Bulajić, French horn, Ivan Marjanović, percussion, Siniša Jović, percussion, Neda Hofman, piano, Goran Mrđenović, violoncello, Slobodan Gerić, double bass
  • Isidora Žebeljan: Girotondo / Borislav Čičovački, oboe, Isidora Žebeljan, piano, Nebojša Ignjatović, double bass, Miroslav Karlović, percussion
  • Jasna Veličković: Inside Pandora’s Box / Мirjana Аgbaba, violin, Ksenija Milošević, violin, Saša Mirković, viola, Dejan Boriž, violoncello, Goran Mrđenović, violoncello, Slobdan Gerić, double bass, Neda Hofman and Bojana Božić, piano four hands
  • Goran Kapetanović: A Brief Account of the Inexorable and Tragic Course of Destiny Which Led the Little Mermaid’s Fragile Being into Total Disaster / Аneta Ilić, soprano, Ana Cvetković, soprano, Marina Nenadović, flute, Veljko Klenkovski, clarinet and bass clarinet, Sava Đurić, bassoon, Saša Mirković, viola, Slobodan Gerić, double bass, Neda Hofman, piano

At 9 pm, Belgrade Philharmonic Hall

Saturday, November 24, 2007

At 6 pm, Belgrade Philharmonic Hall - CHAMBER MUSIC CONCERT

  • Ian Wilson (Irska): The Capisizing Man and other stories / Rubicon Quartet – Roman Simović, violin, Miloš Petrović, violin, Panta Veličković, viola, Dragan Đorđević, violoncello
  • Irena Popović: Little Noiz / Rubicon Quartet
  • Ljubica Marić: Torso / Miloš Petrović, violin, Dragan Đorđević, violoncello, Vladimir Stojnić, piano
  • Aleksandra Vrebalov: Larry is not with us anymore / Aleksandar Arsić, trumpet, Jovan Savić, trumpet, Mihajlo Bulajić, French horn, Mladen Lukić, trombone, Kornel Papišta, tuba
  • Ivana Stefanović: Play Strindberg / Rubicon Quartet

At 7.30 pm, Ethnographic Museum - PROMOTION OF THE PUBLICATION
... under(re)construction – THE INTERNATIONAL REVIEW OF COMPOSERS 1992-2007

    Participants: Srđan Hofman, Vesna Mikić and Ivana Ilić (editors)

At 20.30, Belgrade Philharmonic Hall

    Conductor: BOJAN SUĐIĆ
    Soloist: NATALIJA MLADENOVIĆ, piano
  • Milan Mihajlović: Мemento
  • Vlastimir Trajković: Concerto for piano and orchestra, Op. 21 B flat major

Sunday, November 25, 2007


At 8.30 pm, Belgrade Philharmonic Hall - CHAMBER MUSIC CONCERT

  • Miloš Zatkalik: Lost Frangments / Stojan Krkuleski, clarinet, Aleksandar Latković, violoncello, Dejan Stošić, piano
  • Toru Takemitsu (Japan): Мasque / Laura Levai-Aksin, flute, Ljubiša Jovanović, flute
  • Karlheinz Stockhausen: In freundschaft / Laura Levai-Aksin, flute, Ljubiša Jovanović, flute
  • Slavko Šuklar (Slovenija): Flaura ’94 / Laura Levai-Aksin, flute, Slavko Šuklar, live electronics
  • Vladimir Tošić: Accordal / Zoran Božanić, accordion, Slobodan Gerić, double bass, Ivan Marjanović, marimba
  • Dejan Despić: A cinque / Wind Quintet of the Belgrade Philharmonic Orchestra – Marina Nenadović, flute, Bojan Pešić, oboe, Veljko Klenkovski, clarinet, Nenad Vasić, French horn, Nenad Janković, bassoon
  • Milana Stojadinović-Milić: Caleidoscope / Wind Quintet of the Belgrade Philharmonic Orchestra

Monday, November 26, 2007

At 6 pm, Belgrade Philharmonic Hall - CHAMBER MUSIC CONCERT

  • Luciano Berio: Sequenza IV for piano / Miloš Veljković, piano
  • Dušan Radić: Improvisation for flute and harp / Stana Krstajić, flute and Milena Stanišić, harp
  • Miloš Petrović: Colored pieces / Ljubiša Jovanović, flute, Miloš Petrović, harpsichord
  • Milica Paranosić: Style practices / Bojan Pešić, oboe
  • Rajko Maksimović: She sleeps, perhaps / Iva Mrvoš, mezzosoprano, Stana Krstajić, flute, Miloš Veljković, piano
  • Nataša Bogojević: L’incertezza del poeta / Srđan Sretenović, violoncello
  • Konstantin Babić: Dialogue / Sandra Belić, violoncello, Meri Bojić-Radojčić, piano
  • Kilian Schwoon (Nemačka): Newtons Crypta / Sandra Belić, violoncello, Ljubiša Jovanović, flute, Meri Bojić-Radojčić, piano

At 8.30 pm, Belgrade Philharmonic Hall

Tuesday, November 27, 2007

At 8 pm, City Hall - Bonus Review

    Conductor: VLADIMIR MILIĆ
  • Stevan Stojanović Mokranjac: Fugue
  • Dejan Despić: A Tribute to Stevan Mokranjac
  • Ivan Brkljačić: Cavatina, for violin and strings (Soloist: Тea Arnold, violin)
  • Zoran Erić: Cartoon
  • Ivana Stefanović: Tree of life
  • (program conceived by Vladimir Milić)

Foreword from the selector

Dear guests,
It is an honor to have been given the opportunity, as a selector of the 16th International Review of Composers, to look back to the past fifteen editions of this festival and to try to sum up its results, in the name of all people to whom this festival meant - or still means - something.

I have been attached to the Review almost since its very beginning. Actively. First, during my studies, just as a spectator, and later, as a participant with my music. I have been whitness to the different stages in the development of this festival. There have been ups and downs, as always and everywhere, there have been fears and pleasures, successful concerts and visits of renowned artists, but also unfulfilled wishes. Over the past fifteen years the Review has survived a lot – several wars, governments, one cancellation, and even one revolution. There have been different approaches to the program concept of the festival. Some (approaches) have made it stronger, or fresher, some have added to its persistence with their wisdom. However, all this time it has remained true to its original concept, and that is the gathering of the best composers from the country and from abroad and presenting their best pieces composed within the three year framework. After all that and after all these years, one may ask a question: what did we get from the Review in return for all the effort, enthusiasm, good will invested in the festival… And what about the funds, since we all know that there has never been enough of them? Allow me to mention just a few facts… Ever since its beginning the Review has shaped and directed the work of several important ensembles and soloists in the country. Some of them had their first public performances, either as composers or as performers, at the Review. Besides that – and I believe that this is the most important fact - the festival has featured more than one hundred of local composers who have participated in the program with one or more pieces, and it has given over 350 world premieres. These facts speak for them selves and testify to the creative potential of our country, as well as its potential value. Add to that a lengthy list of foreign composers. Therefore, the answer to the aforementioned question – what we got in return from the Review – is very clear: we got plenty!

Putting together the program of this year’s retrospective Review, I wanted to draw attention back to the local creative potential. Also, I wanted to remind us about the wonderful coleagues who – for various reasons – do not work in this environment anymore but whose music should be perceived as our own. To me it was also important to remember those who are unfortunately deceased. Also, with this retrospective I wanted to make us fully aware of the performing quality of some members of our best orchestras and ensembles, of our soloists and conductors, and of the young artists to whom the Review could represent a true starting point for the future. The program consists of 9 concerts of orchestral, chamber and soloist music, and the emphasis is, obviously, put on the works by Serbian composers (besides them, there are also works of several foreign authors, from Germany, Finland, Japan, Croatia, Slovenia, Ireland and Italy).

Hoping that in the future we will also look back and be reminded of the tradition that we ourselves create, I want to express my desire that the Review shall become a festival of us all, that our common interest will be recognizable and that our only festival, the one that we should cherish and improve, shall last for many, many years. Looking into the future, I say: Good luck to the Review!