Svetlana Maksimovic

Svetlana Maksimovic (1948, Serbia). She is a composer and teacher primarily and also writes ocasionally about specific aspects in music, ranging from medieval to contemporary periods. She holds a Doctor of Music degree in composition (February 2006) from the University of Toronto. Formerly (before), she also earned a „professional composer diploma“ from the Faculty of Music in Belgrade. Her works are performed in Canada, USA, Italy, and Serbia, most of all. As a techer, she taught courses in harmony, counterpoint and composition for a number of years. In her Toronto years she worked as an As-sistant (Materials I, II eg harmony), through 2003/04 and 2004/05, at the Facutly of Music. At some point, she wrote about Messiaen as a pluralist in form (elements of Greek Tragedy) and about melodic variations (rotational types) in the Quartet for the End of Time.
Most important works are: Sketch for Orchestra, Four Museum Rooms (symphony orchestra), Light Approaching, Courtly Dance, (larger ensembles), Pieces of Time in my Hands (string quartet No. 2), Summer 2001 (piano trio), On Mystical Love – after reading Mevlana Rumi, Shadows of predeces-sors (violin, oboe, cello, Harp).

The only voice (or Not a Sole in Sight, author’s interpretation) is writ-ten for cello solo. To a certain degree this piece corresponds to the solo violin piece, Voices (from 2000.). The older one was dedicated to J. S. Bach, while this one’s dedication goes to the cellist, Srdjan Sretenovic. I wanted to point out how valuable his contribution to my music was, in several collaborations! This piece was written between the end of 2016 and the be-ginning of 2017.
The main expectation, from the player, is the ability to present different contemporary and traditional fragments put together in the music. Thus, se-lecting the proper expression and creating a sensible and rounded realization.