Friday, November 19, at 5:30 pm – Hall of the Association of Serbian Composers

  • Božo Banović: Four Ends of the Kingdom, for flute and guitar / Stana Krstajić, flute; Vera Ogrizović, guitar
  • Branka Popović: in nuce, for viola / Nataša Stanojević
  • Anica Sabo: Dreamrealm, for narator, flute, violin, and viola / Janko Brezovar, narator; Nevena Glišić, flute; Jelena Dimitrijević, violin; Atila Sabo, viola
  • Jasna Veljanović-Ranković: Variations without theme for flute / Aleksandra Lečić
  • Dragana Jovanović: Let’s play, for flute and violin / Stana Krstajić, flute; Dunja Kalamir, violin
  • Predrag Repanić: Ko laže na Ostrvu mrtvih?/Who lies on the Isle of the Dead? monodrama za solo klarinet in B (po zapisima sa jedne imaginarne konferen- cije/based on the minutes of an imaginary conference)/Co-llage from the Isle of the Dead, monodrama for solo clarinet (in memory of the Dead Composers Society) / Veljko Klenkovski
  • Svetlana Maksimović: Voices for violin / Maja Jokanović

Friday, November 19, at 8 pm – Bitef Theatre

Saturday, November 20, at 6 pm – Hall of the National Bank of Serbia

Ensemble Alternance
(Paris, France) Frédéric Baldassare, violoncello; Jean-Marie Cottet, piano; Jacques Ghestem, violin; Valeria Kafelnikov, harp; Jean-Luc Menet, flute; Claire Merlet, viola; Chiaki Tsunaba, clarinet

  • Raphaël Cendo: Affront for flute, violin, violoncello, and piano (world premiere)
  • Mark André: Iv 2, for violoncello
  • Gérard Pesson: Mes Béatitudes, for violin, viola, violoncello, and piano
  • Ivan Brkljačić: Three little absurds, for flute, viola, and harp
  • Milica Đorđević: GREY, for alto flute, bass clarinet, viola, violoncello, and piano
  • Milorad Marinković: Little opera – for flute, clarinet, violin, viola, violoncello, piano, and harp (International Review commission, world premiere)

Saturday, November 20, at 8 pm – The Great Hall of Yugoslav Drama Theatre

Ensamble Cantus
(Croatia) Conductor, artistic director: Berislav Šipuš; Choreographer: Dinko Bogdanić; Soloist: Marta Babić, mezzosoprano
Ivan Novinc, concert master, I violin; Mislav Pavlin, II violin; Tvrtko Pavlin, viola; Jasen Chelfi, violoncello Adam Chelfi, violoncello Nikša Bobetko, double bass Dani Bošnjak, flute; Branko Mihanović, oboe Danijel Martinović, clarinet Ricardo Luque Perdomo, bassoon Bánk Harkay, horn; Vedran Kocelj, trumpet; Mario Šincek, trombone Srebrenka Poljak, piano Filip Fak, keyboards Vojislav Čičić, percussions; Marko Mihajlović, percussions

  • Luciano Berio: Opus Number Zoo, children's wind quintet
    I Barn Dance
    II The Fawn
    III The Grey Mouse
    IV Tom Cats
    Dani Bošnjak, flute; Branko Mihanović, oboe; Danijel Martinović, clarinet; Ricardo Luque Perdomo, bassoon; Bánk Harkay, horn
  • Mauricio Kagel: Match, for three players / Jasen Chelfi, violoncello; Adam Chelfi, violoncello; Marko Mihajlović, percussions
  • Berislav Šipuš: Ten Hotti, for voice and chamber ensemble / Marta Babić, mezzosoprano
  • Mauricio Kagel: Kontra→danse, ballet for non-dancers / Non-dancers: Ivan Novinc, Jasen Chelfi, Nikša Bobetko, Danijel Martinović, Ricardo Luque Perdomo, Mirjana Franić i Berislav Šipuš
    Music recorded by: Berislav Šipuš, voice; Dani Bošnjak, flute; Danijel Marti- nović, clarinet; Bánk Harkay, horn; Mario Šincek, trombone; Tvrtko Pavlin, viola; Marko Mihajlović, percussions
  • Ivana Stefanović: The Poet in the Box of Glass – Fairytale, for soprano and chamber ensemble / Marta Babić, mezzosoprano
  • Silvio Foretić: Valse macabre, for voice and salon orchestra / Marta Babić, mezzosoprano

Sunday, November 21, at 5:30 pm – Hall of the National Bank of Serbia

  • Jelena Dabić: Varying moods, for alto saxophone and percussions / Maja Hajduković, alto saxophone; Ivan Marjanović, percussions; Žarko Stepanov, pantomime
  • Dušan Bavdek (Slovenia): Croquis, for oboe and bassoon / Bojan Pešić, oboe; Nenad Janković, bassoon
  • Ljubomir Nikolić: Drops, for percussions / Ivan Marjanović
  • Marko Matović: Four vagabonds, for trumpet, horn, trombone and bassoon / Aleksandar Solunac, trumpet; Milan Roksić, horn; Bodin Draškoci, trombone; Nenad Janković, bassoon
  • Mirjana Živković: Circular Melody, for oboe with pantomime / Borislav Čičovački, oboe; Ana Đurić, pantomime; Katarina Slijepčević-Stojkov choreography
  • Milana Stojadinović-Milić: Aeolus, for three violoncellos / Dragan Đorđević, Srđan Sretenović, and Dejan Božić
  • Aleksandar Vujić: Niška Banja ( The Spa of Niš) , for four trombones / Aleksandar Benčić quartet
  • Dejan Despić: Serenade for strings / Chamber orchestra Ljubica Marić, conductor: Rade Pejčić

Sunday, November 21, at 8. pm – Hall of the National Bank of Serbia

  • Ivan Božičević: Tracingin quest for simplicity, for piano, flute, violin, and vi- oloncello (one harmonic and three melodic instruments) / Monika Lašanc, flute; Mladen Drenić, violin; Srđan Sretenović, violoncello; Neda Hofman, piano
  • Ana Gnjatović: Dialogue, quasi una serenata, for two voices / Ana Gnjatović, Draško Adžić
  • Marcin Stancyk (Poland): Three afterimages for double bass / Goran Kostić
  • Teodora Stepančić: Alluminium obsession, for voice / Teodora Stepančić
  • Vladimir Tošić: Silabial, for flute, bassoon, and piano / Stana Krstajić, flute; Voja Dukić, bassoon; Ljiljana Vukelja, piano
  • Nataša Bogojević: Le beau est toujours bizzare, for male soprano, baritone, violoncello and piano / Ana Radovanović, soprano; Vlada Dinić, baritone; Srđan Sretenović, violon- cello; Neda Hofman, piano / Costume designer: Boris Čakširan
  • Miloš Zatkalik: A seemingly innocent game for violoncello, vibraphone and piano / Aleksandar Latković, violoncello; Srđan Palačković, vibraphone; Jasna Tucović, piano

Monday, November 22, at 8 pm – Hall of the National Bank of Serbia


  • Raymond Murray Schafer (Canada): The Crown of Ariadne, for harp with per- cussions
    I Ariadne awakens
    II Ariadne’s dance
    III Dance of the night insects
    IV Sun dance
    Milana Zarić, harp; José Pepe García, percussions
  • Jasna Veličković: 'shadow study #6' for amplified harp, percussions and elec- tronic / Milana Zarić, harp; José Pepe García, percussions
  • Srđan Hofman: Looking at the Mirrors by Amish Kapur, for two amplified harps and Logic Pro software sound processors / Ljiljana Nestorovska and Milena Stanišić
  • George Aperghis (France): Compagnie, for cimbalom, percussions and harp / José Pepe García, cimbalom and percussions, Milana Zarić, harp
  • Milan Mihajlović: Green Waves, for four harps / Belgrade Harp Quartet – Ljiljana Nestorovska, Milena Stanišić, Ivana Pavlović i Dijana Sretenović

Monday, 22 November, at 9:30 pm – Hall of the National Bank of Serbia


Tuesday, 23 November, at 8 pm – Hall of the National Bank of Serbia


  • Marko Nikodijević: Cvetić, kućica... la lugubre gondola (recording)
  • * * *
    Duo LP – Sonja Lončar, piano; Andrija Pavlović, piano; José Pepe García, percussions
  • Kim Helveg (Danmark): Blue edge, for two pianos
  • John Adams (USA): Halleluyah Junction, for two pianos
  • Ivan Brkljačić: The Great Little J. for marimba
  • Simeon Ten Holt (Netherlands): Canto Ostinato, for two pianos, marimba, and video

Ivan Brkljačić: A Word from the Selector

Ladies and gentlemen,
This year’s International Review of Composers opens up a space in which the Review has never been before. Nine musical events will offer us a glimpse behind the curtain of the musical theater, and at the same time open a door to the concert podium. The junction of the two will enable us to meet the instrumental theater of 20th  century classics – Cage, Kagel, Berio, Adams, Aperghis; on the other hand, we will have the opportunity to discover what kinds of theatrical elements enrich the music created at the time in which we live; not the least music of domestic composers.

Reduced in regard of the size of instrumental ensembles, focused on small groups of performers (solo, duo, trio, quartet), this year’s Review concentrates – much more than was previously the case – on the composer and the work itself, and then on the soloist who instills life in that work. The fact that there are relatively fewer foreign composers than before indicates the existence of a filter, whose purpose is to secure that out of a large number of the scores received, only the very best are performed. The festival largely owes its international character to foreign ensembles and soloists. To begin with, we will once again hear the renowned ensemble Alternance from Paris, after their memorable visits in 1996 and 1998. Then, for the first time we will have the Cantus Ensemble from Zagreb, which based its concerts season on the concept of instrumental theater, to be presented to Belgrade audience for the first time. Rumanian artist Irinel Anghel will share her experience in performance art, creating an event especially for this occasion, one that will enable her to appear as a composer, producer, instrumentalist, actor, choreographer…

After many years a whole concert is devoted to the harp, an instrument of particularly refined sound and lavish appearance, perfect for theatralization.  For the first time we will hear a musician play the harp and percussions at the same time, or see harpists wearing earphones.

There will also be pantomime, choreography, a genuine duel between two cellos, gas masks, a skit featuring the youngest, five-year old performer; Svetozar Cvetković impersonating John Cage…

Most of the program will take place in the usual location – the Hall of the National Bank of Serbia. The contents of the program, however, call for other venues, so far unexploited: BITEF Theater and Yugoslav Drama Theater.

Starting with the Musical Circus, to the closing bonus concert of the Long Play Piano

Duo, we will hear nearly fifty compositions.

Once again, like three years ago, my message to the Review will be: With the Best of

Belgrade, November 2010

Ivan Brkljačić, selector