Draško Adžić (b. 1979) completed his Bachelor and Doctoral studies at the Faculty of Music in Belgrade, where he studied with Academician Isidora Žebeljan. He is currently employed at the same Faculty as an associate professor. He also taught Applied music at the Faculty of Dramatic Arts in Belgrade in 2017/2018.
Works by Adžić have been performed in Serbia, USA, Canada, UK, France, Netherlands, Belgium, Portugal, Austria, Germany, Czech Republic, Poland, Italy, Armenia, Malta, Slovenia, Croatia, Bosnia and Herzegovina, and North Macedonia, in festivals such as the Month of the Contemporary Music (Berlin), Gaudeamus Muziekweek (Amsterdam), ISA PragWienBudapest, NOWA MUZYKA (Bydgoszcz), Music Biennale Zagreb, Belgrade Music Festival – BEMUS, and others. His music was heard in prestigious concert halls such as the Berghain (Berlin), Muziekgebouw aan ‘t IJ, Uilenburger Synagoge, and Bethaniënklooster (Amsterdam), Salão Nobre da Escola de Música do Conservatório Nacional (Lisbon), Narodowe Forum Muzyki (Wrocław), Koerner Hall (Ghent), Dvorana Union (Maribor) Muzej Mimara, Lauba and Studio Bajsić HRT (Zagreb), Kolarac Endowment Hall (Belgrade), Radio Belgrade Studio 6 and Drugstore.
Draško Adžić has received commissions from and collaborated with numerous ensembles, including the Belgrade Philharmonic Orchestra, RTS Symphony Orchestra, No Borders Orchestra, Ensemble Metamorphosis, St George Strings, Cantus Ensemble, Academic choir Collegium musicum, FILUM Ensemble, etc.
He is active as a composer for theatre, film and TV. So far, he has written music for more than 60 productions in Serbia, Germany, and in the region. His incidental music could be heard in numerous festivals such as the Berlinale, Neue Stücke aus Europa (Wiesbaden), Raindance (London), Ulysses Theatre Festival (Brijuni), Dubrovnik Summer Festival, MESS (Sarajevo), Sarajevo Film Festival, FEST, BITEF, Sterijino pozorje…. He was one of the artists who represented Serbia at the 13th Prague Quadrennial. He was twice laureate of the Sterija Award for best incidental music.
About the piece
Danza Pompeiana II, Un rito Romano immaginario is an imaginary ritual music which may have been performed in an imaginary Pompei which, again, maybe existed, and maybe not.
The piece is based on my piece Danza Pompeiana for cello and accordion, written form Aleksandar Latković and Branko Džinović. My initial intention was to orchestrate the piece without substantial changes, however, while working, the music spontaneously produced an abundance of new and diverse material, distancing its physiognomy from the original. That’s why Danza Pompeiana got its new index, and this version for accordion and strings can be observed as an even deeper dive into the world of an ancient, pagan, imaginary civilization.