Wednesday, 5 October 2016, 8 PM, National Bank of Serbia Hall

Gala Opening
Presentation of the Mokranjac Award

Saint George Strings
Conductor: Rade Pejčić

Marina Nenadović, flute; Zoran Anić, guitar; Veljko Klenkovski, clarinet; Vladimir Gligorić, piano

  • Orlando Jacinto García (Cuba/USA) – The Distant Wind II, for clarinet and string orchestra
  • Vladimir Tošić (Serbia) – Medial 9, for string orchestra
  • Jugoslav Bošnjak (Serbia) – Music of Silence, for guitar and string orchestra
  • Andrey Rubtsov (Russia) – Two Reflections on Nutcracker, for piano and string orchestra
  • Ivan Brkljačić (Serbia) – Eleganza nuova
  • Vlastimir Trajković (Serbia) – Suite española para flauta y 15 arcos (Recuerdos de la infancia)
    I.__ Canto sobre una danza lejana
    II.__ Balada sobre un caballero aturdido
    III.__ Lamento sobre la muerte por un amor fatal

Thursday, 6 October 2016, 5:30 PM, National Bank of Serbia Hall

Construction Site New Music Ensemble
Conductor: Ivan Marković

Aneta Ilić, soprano

  • Miloš Zatkalik (Serbia) – Three Poems by Alexander Search for mezzo-soprano, clarinet and piano
  • Szilárd Mezei (Serbia) – Hep 13 A. T., for violin, violoncello, and piano
  • Raffaele Grimaldi (Italija) – Trio, for violin, viola, and violoncello
  • Ljubomir Nikolić (Serbia) – Hibernations, for clarinet, violoncello, and piano
  • Gundega Šmite (Latvia) – Five Linearities, for flute, bassoon, and piano
  • Mei-Fang Lin (USA) – Hovor II for violin, viola, and violoncello
  • YoungWoo Yoo (South Korea) – Hwesang, for flute, violin, and piano
  • Dragana Jovanović (Serbia) – Three Songs for Aneta, for soprano and string septet

Thursday, 6 October 2016, 8 PM, National Bank of Serbia Hall

Zoran Anić, guitar; Petar Stevanović, trumpet; Veljko Klenkovski, clarinet; Goran Kostić, double bass; Neda Hofman, piano

Friday, 7 October 2016, 5:30, National Bank of Serbia Hall

Classic Works for Solo Instruments

Dr Biljana Leković, musicologist, assistant professor of musicology at the Faculty of Music in Belgrade
Ivana Miladinović Prica, musicologist, teaching assistant at the Musicology Department of the Faculty of Music in Belgrade

Friday, 7 October 2016, 8 PM, National Bank of Serbia Hall

Nada Kolundžija, piano; Natalija Mladenović, piano; Goran Kostić, double bass; Rastko Uzunović, clarinet; Nenad Marković, trumpet

Saturday, 8 October 2016, 6 PM, National Bank of Serbia Hall

Stana Krstajić, flute; Vladimir Gagić, clarinet; Gorana Ćurgus, harp; Vladimir Gligorić, piano; Ivan Bašić, piano; Ana Radovanović, mezzo-soprano; Vladimir Dinić, baritone; Selena Jakovljević, violin; Julijana Marković, violoncello

Saturday, 8 October 2016, 8 PM, National Bank of Serbia Hall

Meitar Ensemble (Tel Aviv)
Gilad Harel, clarinet; Elissa Cassini, violin; Jonathan Gotlibovich, violoncello;
Amit Dolberg, piano

Sunday, 9 October 2016, 8 PM, Cathedral of the Blessed Virgin Mary

Concert: Ivan Božičević, organ

Maja Smiljanić Radić, organ, Miljana Popović, violin

Monday, 10 October 2016, 8 PM, National Bank of Serbia Hall

Construction Site New Music Ensemble
Conductor: Rade Pejčić

Isidora Žebeljan’s ensemble

Ljiljana Vukelja and Maja Rajković, piano duo

A word from the selector

This year, we had 500 applications; 54 compositions will be performed in eight concerts.

This year’s Forum will focus on works where the clarinet, trumpet, piano, guitar, or the double bass are treated as solo and virtuosic instruments. In addition to the selected pieces, which are performed solo, with electronics or orchestral accompaniment and represent the most recent creative endeavours, this year’s programme also comprises works written for these instruments during the latter half of the 20th century that have become an important part of the repertory but have not or have only seldom been performed in Serbia. These pieces should remind us of the new type of virtuosity ushered in by the 20th century and new ways of treating instruments, which helped shape contemporary compositional practices.

Virtuoso solo works demand a special degree of engagement and commitment from performers, so this year, they will be presented by experienced soloists as well as young interpreters who have only begun to explore contemporary music. They will perform Luciano Berio’s Sequenza X for trumpet, Iannis Xenakis’s Theraps for solo double bass, the first movement of Leo Brouwer’s Guitar Sonata, Petar Ozgijan’s Za Mimu (For Mima) for solo clarinet, and Douze notations for piano, an early work by Pierre Boulez, an artist whose activities marked the 20th and the beginning of the 21st century and who passed away this year.

A concert dedicated to organ music will feature, in addition to pieces from this year’s selection, works by Philip Glass, György Ligeti, Arvo Pärt, and Sofia Gubaidulina, as well as Josip Slavenski’s Sonata religiosa for violin and piano, to mark what would be the 120th birthday of this important Yugoslav composer.

Beside solo works, this year’s Forum will also present a series of chamber works, as well as works for string orchestra, interpreted by the Construction Site New Music Ensemble and St. George Strings, conducted by Rade Pejčić and Ivan Marković.

This year, the Forum’s programme also envisions musicological presentations on solo pieces to be performed in two concerts, on 6 and 7 October.

The Meitar Ensemble from Tel Aviv, performing in our country for the first time, will present themselves with a programme comprising works by Israeli and Serbian composers.

I hope that this year’s Forum will present a representative sample of recent music creativity from various parts of the world, with special focus on the work of Serbian composers over the last three years and also that it will highlight what are by now already standard repertoire works of global music literature that form the basis of contemporary classical music and paved the way for contemporary ways of composing music. I also hope that as a result of this year’s Forum, all of these works, both recent and older, will be performed more often and that the Forum will remind us of standard repertoire works by Serbian composers that are seldom performed, despite their extreme significance for contemporary musical creativity in Serbia and Serbian culture in general.

Belgrade, september 2016
Branka Popović, Programme Selector