Djuro Zivkovic
Djuro Zivkovic was born in Belgrade in 1975. He finished his violin studies in 1998 at the Academy of Music in Belgrade, and began studies in composition with Vlastimir Trajkovic. In 2000 he took violin classes with Karl-Ove Mannberg at the Royal College of Music in Stockholm, and the same year he continued his composition studies at the same school with Lars-Erik Rosell, Lars Ekström and Pär Lindgren. In 2007 he finished his Diploma in Composition at the same school. Djuro Zivkovic has also participated in master classes and also taken individual lessons with Magnus Lindberg, Esa-Pekka Salonen, Bent Sörensen, James Dillon, Michael Obst and Mario Davidovsky.
Djuro has composed a wide range of works such a chamber, orchestral and vocal music, music for solos, choral as well as electro-acoustic music. To name a few, his list of works include Violin Sonata “Metaphysical Poem”, “Piano Trio”, “Fantasia” for violin and wind orchestra, “Serenade” for strings, “Atmosphéres Illuminèes” for cello and orchestra, “The White Angel” for chamber orchestra, “Fantasmagoria” for french horn and chamber orchestra, “Around the candle lights” for ensemble etc.
His music has been performed in Sweden, Serbia, Canada, Bosnia, Albania, Macedonia and Switzerland and recorded and broadcast on Swedish Radio, Radio Montréal, Radio and Television of Serbia and Swiss Radio. Among performers of his work there are:
Trio Fibonacci (Montreal-Brussels), pre-art ensemble (Zürich), SAMI Sinfonietta, Stockholm Wind Orchestra, Sonanza ensemble (Stockholm), Ensemble for New Music (Belgrade), Musica Vitae Chamber Orchestra and conductors such as Stefan Schreyer, Jan Risberg, Biljana Radovanovic, Mikael Bartosch and B. Tommy Andersson.
Djuro has composed a wide range of works such a chamber, orchestral and vocal music, music for solos, choral as well as electro-acoustic music. To name a few, his list of works include Violin Sonata “Metaphysical Poem”, “Piano Trio”, “Fantasia” for violin and wind orchestra, “Serenade” for strings, “Atmosphéres Illuminèes” for cello and orchestra, “The White Angel” for chamber orchestra, “Fantasmagoria” for french horn and chamber orchestra, “Around the candle lights” for ensemble etc.
His music has been performed in Sweden, Serbia, Canada, Bosnia, Albania, Macedonia and Switzerland and recorded and broadcast on Swedish Radio, Radio Montréal, Radio and Television of Serbia and Swiss Radio. Among performers of his work there are:
Trio Fibonacci (Montreal-Brussels), pre-art ensemble (Zürich), SAMI Sinfonietta, Stockholm Wind Orchestra, Sonanza ensemble (Stockholm), Ensemble for New Music (Belgrade), Musica Vitae Chamber Orchestra and conductors such as Stefan Schreyer, Jan Risberg, Biljana Radovanovic, Mikael Bartosch and B. Tommy Andersson.
“On the Guarding of the Heart”
“On the Guarding of the Heart” is directly inspired by my two previous pieces “I Shall Contemplate…” and “Le Cimetière Marin”. …”. All of them are religious music, which I call freely cantata, the name I borrow from and refer to Bach’s master pieces. “On the Guarding of the Heart” is an instrumental cantata, and it derives many musical ideas from “I Shall Contemplate…” and both pieces could be performed attacca, in the way that the later ends the pieces.
The main theme of “On the Guarding of the Heart” is the need to return into oneself, to descent with the intellect in to the depths of the heart, to guard it and to seek there the hidden treasure of the inner kingdom. The music is very stimulated by reading of the Philokalia; it is about a hard-achieved detachment, stillness and watchfulness, it is about solitude and exile. (Djuro Zivkovic)
“On the Guarding of the Heart” is directly inspired by my two previous pieces “I Shall Contemplate…” and “Le Cimetière Marin”. …”. All of them are religious music, which I call freely cantata, the name I borrow from and refer to Bach’s master pieces. “On the Guarding of the Heart” is an instrumental cantata, and it derives many musical ideas from “I Shall Contemplate…” and both pieces could be performed attacca, in the way that the later ends the pieces.
The main theme of “On the Guarding of the Heart” is the need to return into oneself, to descent with the intellect in to the depths of the heart, to guard it and to seek there the hidden treasure of the inner kingdom. The music is very stimulated by reading of the Philokalia; it is about a hard-achieved detachment, stillness and watchfulness, it is about solitude and exile. (Djuro Zivkovic)