Vladica Mikićević (b. 1994) completed her undergraduate and Master studies of composition at the Faculty of Music in Belgrade in the class of Tatjana Milošević Mijanović. She is currently pursuing the Doctoral academic studies of composition and working as a Junior Researcher at the Faculty of Music, where she also obtained BA and MA degrees from the Solfeggio and Music Pedagogy Department.
Vladica Mikićević took part in important European master classes and she received several awards of the Antonín Dvořák Composition Competition (Prague), IMPULS Academy (Graz), Music Biennale Zagreb, reMusik (Saint Petersburg), Composers + Summer Academy (Druskininkai) etc. She has worked with the renowned composers such as Mark Andre, Isabel Mundry, Pierluigi Billone, Ivo Medek, Yuri Kasparov. Her music has been performed in Serbia and abroad, at festivals and events including KoMA, FESTUM, Summer Art School, KozArs, Rossi fest, Miris stvaranja, 50th Beogradski sutoni (Belgrade Twilight), Fête de la Musique, Maternja melodija (Native Melody).
Vladica Mikićević is the initiator and producer of the event Miris stvaranja (The Bouquet of Creation) which unites and promotes the music of young composers from Serbia and Republika Srpska. In 2017 she was one of three participants who coauthored the paper “Escalator to Parnassus” which analysed the influence of Ancient Greek and Byzantine music on the creativity of Serbian composers in the 20th and 21st Centuries (the paper was presented at the International Musicological Conference Modus-Modi-Modality in Nicosia). She performs as a pianist and conductor, and she actively composes incidental music for theatre. She is a member of the Composers Association of Serbia, SOKOJ – Organisation of Music Authors of Serbia, and MOTO (Music-Opera-Theatre Organisation).
About the piece
Collage of Immortal Pictures is the first in the sequence of pieces by the composer written for accordion. The piece consists of seven pictures (parts) which are united in a music collage, bursting with colour and emotions. Each picture has its own atmosphere, presented with different character and tempo, and they form a sequence of slow and quick tempi in alternation. The first, third, fifth and seventh picture are in slow tempo and melancholic in character, and they accentuate the coloristic relations between accordion and strings. The second, fourth and sixth picture are quicker in tempo, dance-like in character, with pronounced rhythmic changes and cluster accents. Accordion and strings follow and complement each other, building a collage of constant changes, with an optional solo cadenza in accordion part which gives the piece the characteristics of a short accordion concerto.