Vrebalov mileva maric biography
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Aleksandra Vrebalov - Mileva
Armel Composition Festival, Szeged, Hungary 2012
Aleksandar Kojić, Ozren Prohić, Falls Markaryan, Dan Popescu, Violeta Srećković, Vladimir Andrić, Jelena Končar, Branislav Jatić, Marina Pavlović Barać, Miljenko Đuran, Verica Pejić, Laura Pavlović, Maja Mijatović, Saša Štulić, Branislav Cvijić, Igor Ksionžik, Goran Krneta, Slavoljub Kocić
Internet streaming - ARTE Be alive Web, 12 October 2012
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Aleksandra Vrebalov (1970, Serbia/USA) earned her BA degree in composition at the Academy of Arts in Novi Sad in 1992, supervised by M. Štatkić and her MA degree in Belgrade in 1993/94, supervised by Z. Erić and in San Francisco in 1995/96, supervised by E. Armer. She has worked as a teaching assistant at the Academy of Arts in Novi Sad. Today she lives and works in the United States, pursuing an extraordinarily successful career in both composition and teaching. She is also a visiting professor at the Academy of Arts in Novi Sad. Her musical language is based on a postmodernist orientation, with occasional use of models from folk, pop, and rock music and sometimes involves turning toward tonality in clear forms. Especially noteworthy in her oeuvre are Vremena (Times) for orchestra, Gudački kvartet br. 1 and br. 2 (String Quartets Nos. 1 and 2), Elegija za N. N. (An Elegy for an Unknown Person), and Orbite (Orbits) for orchestra, among other works. She has received a number of honours and awards for her work in composition, including two Mokranjac Awards: in 2009, for her piece Stanice (The Stations) for vocal soloists, choir, and orchestra and in 2011, for her opera Mileva, which was premièred as part of the festivities marking the 150th anniversary of the Ser
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Aleksandra Vrebalov: This Kiss for the Whole World - WORLD PREMIERE - Marrowstone Music Festival 2022
Aleksandra Vrebalov: Starry Night for Orchestra
angels everywhere, mixed media, 2016
SPELLS 2008-2019
An ongoing cycle of pieces exploring relationships and intimacy, with different instrumentations, all based on minimal melodic, rhythmic and harmonic patterns.
Spell no. 1 - piano and vibraphone, commissioned by Diane and Nick Petrella in 2008.
Two instrumental lines are two characters transformed through their relationship. Through mutual interaction they provoke, challenge, and disturb each other, they change roles, occasionally overcome crisis, they rejoice in a loud, buoyant togetherness, like magnets they fuse, then explode to nothingness, they exhaust and depend on each other. Tired and changed, they end up in a tender, yet cranky embrace, aware of each other’s fragility and delicate powers that bind them together.
Spell no. 2 - two pianos
Spell no. 3 - violin and electronics
Spell no. 4 - string quartet, shells, tibetan bowl, tape
Spell no. 5 - flute, clarinet, violin, cello, piano, tape
Spell no. 6 - soprano, flute, violin, cello, piano
Spell no. 7 -