Friday November 11 at 8 pm – Hall of The National Bank of Serbia


Academic Chamber Choir Liceum (Kragujevac)
Academic Choir Obilić – Academic Artistic Assotiation of University of Belgrade Branko Krsmanović
Academic Choir Collegium Musicum
Belgrade String Orchestra Dušan Skovran
Conductors: Darinka Matić Marović, Miloje Nikolić, Dragana Jovanović, Dejan Milivojević

  • Hye Kyung Lee (South Korea/USA): Qae-s[z]i-na-ching-ching for mixed choir and three tom-toms / Academic Choir Obilić – AAAUB Branko Krsmanović, conductor: Darinka Matić Marović
  • Vladimir Tošić (Serbia): Kvintal for mixed choir / Academic Chamber Choir Liceum, conductor: Miloje Nikolić
  • Srđan Hofman (Serbia): Šta sam rekao? (What have I said?) for mixed choir / Academic Chamber Choir Liceum, conductor: Miloje Nikolić
  • Rodney Waschka (USA): Sayings for mixed choir / Academic Choir Obilić – AAAUB Branko Krsmanović, conductor: Dejan Milivojević
  • Rajko Maksimović (Serbia): O-Trim-Pa-Ra for three-part female choir / Academic choir Collegium Musicum, conductor: Dragana Jovanović
  • Milorad Marinković (Serbia): Srpska narodna uspavanka (Serbian Traditional Lullabuy) / Academic Chamber Choir Liceum, conductor: Miloje Nikolić
  • Aleksandar Sedlar Bogoev (Serbia): Idi vidi dedu (Go, See Grandpa), for female choir, piano and string orchestra / Academic choir Collegium Musicum, Belgrade String Orchestra Dušan Skovran, Neda Hofman, piano; conductor: Darinka Matić Marović

Saturday, November 12 at 5.30 pm – Hall of The National Bank of Serbia


Ana Radovanović, soprano; Jelena Banković, soprano; Maja Mijatović, soprano; Marija Mitić, soprano; Slaven Čiča, tenor; Stana Krstajić, flute; Milana Zarić, harp; Srđan Sretenović, violoncello; Neda Hofman, piano; Bojan Pešić, English horn; Dušica Mladenović , violin; Veljko Klenkovski, clarinet; Ivan Marjanović, percussion; Zoran Božanić, accordion; Ana Gnjatović, voice and recorder; Uroš Jovanović, double bass

  • Diego Soifer (The Netherlands): Lost and found for soprano, clarinet, harp and violoncello
  • Evis Sammoutis (Cyprus): Fearing Apparitions from Ghost Shadows for soprano and piano
  • Miloš Zatkalik (Serbia): Reči u kamenu (Words in Stone) for mezzosoprano and English horn
  • Svetlana Maraš (Serbia/Finland): Poetica micro-mix for tape
  • Hideki Kozakura (Japan): Dvě sovy (Two Owls) for soprano
  • Maja Matić (FBH): Insectument for mezzosoprano, violin, clarinet and percussion
  • Svetlana Savić (Serbia): Soneti (Sonnets) for soprano, violoncello, piano and electronics
  • Ada Gentile (Italy): Notti di Gatto (Cat’s Nights) for voice and bayan
  • Ana Gnjatović (Serbia): Fashion Victim V for voice, recorder, violin and double bass
  • Mirjana Živković (Serbia): Mali pijac (Little Market) for soprano, tenor, clarinet, violin, double bass and accordeon; conductor: Nemanja Mitrašević

Saturday, November 12 at 8 pm – Hall of The National Bank of Serbia


Stana Krstajić, flute; Natalija Mladenović, piano; Mirjana Nešković, violin, Jelena Dimitrijević, violin; Jožef Bisak, viola; Dejan Božić, violoncello; Miloš Janjić, guitar

  • Aleksandar S. Vujić (Serbia): Iz Istočne Srbije – Zamete se, pomete se (From Eastern Serbia – Zamete se, pomete se) for soprano, flute, violin, viola and violoncello
  • Božo Banović (Serbia): Prolećna pesma (Spring Song) for voice, flute and piano
  • Dušan Bogdanović (Serbia/Switzerland): Mala kutija (Little Box) for voice, flute, piano and guitar
  • Dorothea Hofmann (Germany): Remembering Shakespeare for soprano, violin and piano
  • Vladimir Genin (Russia/Geramany): Lezte Augenblicke (lieder 4 und 6) for soprano, violoncello and piano
  • Milana Stojadinović-Milić (Serbia ): Suze (Tears) – cycle of vocal miniatures for soprano, alto flute and piano
  • Ivan Brkljačić (Serbia): Mokranjac – Variations on a fragment from Njest Svjat (None is so Holy as Thou) for soprano and string quartet

Sunday, November 13, at 8pm – Cultural Center DOB (Dom omladine Beograd), large hall

Nebojša Ignjatović & Secondhanders

  • Ivana Stefanović (Serbia): Duboki do (Deep Do) for electric guitar, double bass, mbira, piano, voice and štakolončelo; multiinstrumentalist, Nebojša Ignjatović
  • Nebojša Ignjatović & Secondhanders

Nebojša Ignjatović, author of the project, double bass, vocal, piano, mbira, flute, shtakoloncello
Secondhanders’ arrangements: Aleksandra Stanić, viola, vocal; Julijana Marković, violoncello, vocal; Gorana Ćurgus, harp; Jugoslav Hadžić, accordion
Guest: Luka Ignjatović, saxophone

  • Words of the day (svakodnevne reči)
  • Hardware Agnostic
  • Homeopatska sonatina
  • Draftwerk
  • Žustro i bezveze (Strong and Wrong)
  • Madopares and Jupreniles

  • Dragana Jovanović (Serbia): Sounds of Mama Duna / Nebojša Ignjatović & Secondhanders; guest: Luka Ignjatović, saxophone; beatboxer Marko Stojanović – Luis, Ana Živčić, ethno singer; Dragana Jovanović, “bućka” and cd player; Ars Divina choir, conductor: Ivan Marković

  • Epilogue:
  • Anica Sabo (Serbia): Nikomur ne povem (I shall say to no one) for mixed choir, flute, violin, viola and violoncello
  • Robert Cohen (USA): Sleep Little Baby, Sleep for mixed choir and string quartet / Choir Ars Divina (Serbia), Nevena Glišić, flute, Jelena Dimitrijević, violin, Aleksandra Milanović, violin, Atila Sabo, viola; Filip Milinković, violoncello; conductor: Ivan Marković

Monday, November 14 at 5.30 pm – Hall of Composers' Association of Serbia

Guests from Macedonia and Quintet Concertone

Concert organized in collaboration with Composers Association of Macedonia

Goran Načevski, baritone Marija Vrškova, piano Miloš Petrović, violin; Mladen Drenić, violin; Ljubomir Milanović, viola; Srđan Sretenović, violoncello and Boban Stošić, double bass

  • Pavle Merku (Slovenia): Three Songs op.15 for baritone and piano
  • Tomislav Zografski (Macedonia): Zapisi (Inscriptions) for baritone and piano
  • Branka Popović (Serbia): Red Easy a Color for baritone and piano
  • Goran Načevski (Macedonia): Three religious songs for baritone and piano
  • Ionel Petroi (France): Les Melodies de Sancho Pança (four songs from the cycle) for baritone and string quintet
  • Dejan Despić (Serbia): Homo homini... sacrament for baritone and piano quintet op.221

Monady, November 14 at 8pm – Terazije Theatre

Ensemble KlangforumWien
Thomas Frey, flutes; Markus Deuter, oboe; Bernhard Zachhuber, clarinet; Lorelei Dowling, bassoon; Christoph Walder, horn; Anders Nyqvist, trumpet; Andreas Eberle, trombone; Annette Bik, violin; Sophie Schafleitner, violin; Dimitrios Polisoidis, viola; Benedikt Leitner, violoncello; Uli Fussenegger, doublebass; Joonas Ahonen, piano, celesta, Lukas Schiske, percussion; Adam Weisman, percussion.

  • Đuro Živković (Serbia): On the Guarding of the Heart for chamber orchestra
  • Hans Zender (Germany): Cabaret Voltaire for soprano and chamber orchestra
  • Break
  • Salvatore Sciarinno (Italy): Quaderno di strada for baritone and chamber orchestra

Ivan Brkljačić: A Word from the Selector

DDear all,
This year the International Review of Composers celebrates an important anniversary. It is held for the 20th  time, and regardless of numerous obstacles that have inevitably been in its way during the previous twenty years, considering the times during which it developed, it has never stopped its continuity of being a yearly event. Today, when the Review stands firmly on its own feet, and with every year it is taking its swing even more and more, the continuity and significance of our only festival of contemporary artistic music should be even more important. In regard to its continuity, the Review remains faithful to its original concept, which is to gather our best composers and present their best pieces, as well as those that come from abroad. Splendour of the Voice is a concept which for the first time in twenty years puts emphasis on the voice. If we remind ourselves of the fact that in almost fifteen years the Review hasn’t had a concert of a choir with premiere performances, and the voice that has always been a prerequisite for applying to this festival, has never been in its focus, the aforementioned concept imposes itself as a factual necessity. Owing to this fact, we will have an opportunity to witness performances by our best choirs and solo vocalists, and to familiarize ourselves with the latest productions dedicated primarily to them. A long-standing tradition of performances by the Obilić choir, part of the B. Krasmanović Artistic Association of the University of Belgrade, the fortieth anniversary of the female choir Collegium Musicum, and the enviable energy combined with the highest level of artistic interpretation from maestro and professor Darinka Matić Marović, make this year’s Review special. The premiere participation of the world-famous choir Liceum from Kragujevac, conducted by professor Miloje Nikolić, makes it possible for the Review to take steps in further promoting itself across our country. Trio Donne di Belgrado, an ensemble consisting of three superb artists Aneta Ilić, Stana Krstajić and Natalija Mladenović, the only vocal-instrumental chamber ensemble in our community, which above all promotes the heritage of domestic contemporary repertoire. Logically, Donne naturally fit into this year’s focus on the voice. Besides its mission to present the best works and the best artists, the Re view does not cease to discover new values. I primarily have in mind new singers, who have been given the chance to show that they can henceforward be seriously counted on. Also, this year for the first time we will gather in a new space, the Great Concert Hall of the Youth Center, with a very special performance by the group Secondhanders, and also for the first time we will have the chance to witness the po tential of a newly-founded choir Ars Divina, conducted by a young but highly ambitious Ivan Marković. Finally, like every year, the Review will welcome its special guests. At the very end of the festival, we will welcome guests first from the South, and then from the North. We will hear performances by the marvelous vocal-and piano duo Vrškova-Načevski from Macedonia, as well as the famous Austrian Klangforum, whose friendship with the Review and the city of Belgrade grows with every year. During the next four days all these musicians and ensembles, with the help from our most prominent soloists and instrumentalists, are going to perform 43 compositions, out of which 22 are Serbian, while 21 compositions selected among those submitted by foreign composers. In addition to the anniversary that the Review celebrates this year, I would like to say that I am extremely honored to be able to act as the selector of program for the fifth time, and share with you this small, personal anniversary.
As in the previous years, looking forward to a brighter future, I wish the Review: Good luck!

Belgrade, November 2011.

Ivan Brkljačić,
Selector of the 20th International Review of Composers