REČ KOMPOZITORAIVAN BOŽIČEVIĆ (1961, Srbija/Hrvatska), kompozitor, orguljaš, pijanist, aranžer i jazz muzičar. Studirao je kompoziciju u Beogradu u klasi Aleksandra Obradovića, a orgulje u Frankfurtu kod Edgara Krappa. Živi i radi u Splitu kao profesor kompozicije na Umjetničkoj akademiji. Autor je četiri simfonijske kompozicije, kao i brojnih kamernih, solističkih, horskih i elektronskih dela. Interesuju ga različiti žanrovi (barokna, elektronska, jazz i world music) i mogućnosti njihovih međusobnih prožimanja. Dela su mu se izvode i snimaju širom Evrope i SAD-a, objavljena su na 17 nosača zvuka i štampana kod nekoliko američkih izdavača (Walton Music, EC Schirmer, Abundant Silence, Hinshaw), kao i kod nemačkog Schott-a. Pored domaćih priznanja (Hristićeva nagrada, Srebrna medalja Univerziteta umetnosti u Beogradu), Božičević je dobitnik brojnih inostranih kompozitorskih nagrada – ArtsLink Fellowship Award, Garth Newel Composition Award, Third Millenium Ensemble Award, Alienor Harpsichord Composition Award, Asylum Saxophone Quartet Prize, AGO/ECS Publishing Prize, AGO Marilyn Mason Prize, Random Access Music Award, International Clarinet Association Prize, (SAD), John Clare Society Award, Invitation to Composers Project (Velika Britanija), Trio Anima Mundi Prize (Australija), nagrada na konkursu Hora Praške Filharmonije (Češka), nagrada na konkursu ansambla "Sofijski solisti" (Bugarska), Premio Cristóbal Halffter (Španija). ———————————————————————–IVAN BOŽIČEVIĆ (1961, Serbia/Croatia), composer, organist, pianist, arranger and jazz musician. He studied composition in Belgrade with A. Obradović and organ in Frankfurt with E. Krapp. He lives in Split as a composition professor at the Academy of Arts. His opus encompasses four symphonic works, as well as numerous chamber, choral, soloistic and electronic compositions. He is interested in a variety of genres (baroque, electronic, jazz, world music) and the possibility of “cross-fertilizations“ between those genres. His works are performed and recorded all over Europe and the USA , issued at 17 CD-s, printed by several US publishers (Walton Music, EC Schirmer, Abundant Silence, Hinshaw) and in Germany (Schott).Along with the recognitions at home (Stevan Hristić Award, Silver Medal of the Belgrade University of Arts), Božičević has received numerous composition prizes abroad – ArtsLink Fellowship Award, Garth Newel Composition Award, Third Millenium Ensemble Award, Alienor Harpsichord Composition Award, Asylum Saxophone Quartet Prize, AGO/ECS Publishing Prize, AGO/Marilyn Mason Prize, Random Access Music Award, International Clarinet Association Prize, (USA), Trio Anima Mundi Prize (Australia), John Clare Society Award, Invitation to Composers Project (Great Britain), award at the Prague Philharmonic Choir Competition (Czech Republic), "Sofia soloists ensemble" award (Bulgaria), Premio Cristóbal Halffter (Spain).Marittimo za obou, klavir i gudače (2005)Misterija mora je večita inspiracija. Njegova kompleksna pojavnost – neprestana zaigranost vode, svetla, zraka, mirisa – krije u sebi jednostavnu suštinu, za kojom tragamo u peterostavačnoj meditaciji Marittimo. Korišćenjem redukovanih (na momente i minimalističkih) izražajnih sredstava želimo osloboditi muzički prostor od suvišnog i usmeriti fokus na tu misterioznu suštinu. Solisti i orkestar nadopunjuju se u objedinjenom muzičkom tkanju, bez koncertantnih ambicija: centralni harmonski kontinuum klavira mirno se pretapa u toplinu gudača sa jedne, te u osobenu pevnost oboe sa druge strane.Stavovi:Moderato/Allegro flessuoso/Adagio – Largo meditativo – Scherzoso – Calmo – Allegro vigoroso Marittimo for oboe, piano and strings (2005)Mystery of the sea is an everlasting inspiration. Although of complex appearance – constant play of water, air, light, and fragrance – a simple essence exists hidden somewhere inside, an essence that we search for in our five-movement meditation. By using reduced (sometimes minimalist) means we strive for a music space devoid of the superfluous, hoping to focus on the mysterious essence. The soloists and the orchestra complement each other in a unified texture, with no concertante ambitions: the central harmony continuum of the piano transforms itself calmly into the warmth of the strings on one hand, and into the melodiousness of the oboe on the other.

تم النشر بواسطة ‏‎Ensemble Metamorphosis‎‏ في الإثنين، ٢٩ أكتوبر ٢٠١٨

 

IVAN BOŽIČEVIĆ (1961, Serbia/Croatia), composer, organist, pianist, arranger and jazz musician. He studied composition in Belgrade with A. Obradović and organ in Frankfurt with E. Krapp. He lives in Split as a composition professor at the Academy of Arts. His opus encompasses four symphonic works, as well as numerous chamber, choral, soloistic and electronic compositions. He is interested in a variety of genres (baroque, electronic, jazz, world music) and the possibility of “cross-fertilizations“ between those genres. His works are performed and recorded all over Europe and the USA , issued at 17 CD-s, printed by several US publishers (Walton Music, EC Schirmer, Abundant Silence, Hinshaw) and in Germany (Schott).

Along with the recognitions at home (Stevan Hristić Award, Silver Medal of the Belgrade University of Arts), Božičević has received numerous composition prizes abroad – ArtsLink Fellowship Award, Garth Newel Composition Award, Third Millenium Ensemble Award, Alienor Harpsichord Composition Award, Asylum Saxophone Quartet Prize, AGO/ECS Publishing Prize, AGO/Marilyn Mason Prize, Random Access Music Award, International Clarinet Association Prize, (USA), Trio Anima Mundi Prize (Australia), John Clare Society Award, Invitation to Composers Project (Great Britain), award at the Prague Philharmonic Choir Competition (Czech Republic), “Sofia soloists ensemble” award (Bulgaria), Premio Cristóbal Halffter (Spain).

Marittimo for oboe, piano and strings (2005)

Mystery of the sea is an everlasting inspiration. Although of complex appearance – constant play of water, air, light, and fragrance – a simple essence exists hidden somewhere inside, an essence that we search for in our five-movement meditation.

By using reduced (sometimes minimalist) means we strive for a music space devoid of the superfluous, hoping to focus on the mysterious essence. The soloists and the orchestra complement each other in a unified texture, with no concertante ambitions: the central harmony continuum of the piano transforms itself calmly into the warmth of the strings on one hand, and into the melodiousness of the oboe on the other.