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Predrag Milošević

January 01, 1970

For other people named Predrag Milošević, see Predrag Milošević (disambiguation).

Predrag Milošević (Serbian Cyrillic: Предраг Милошевић; February 4, 1904 in Knjaževac – January 4, 1988 in Belgrade) was a composer, conductor, pianist, pedagogue, and music writer. As one of those musicians from Serbia who completed their university education in Prague, upon his return, Milošević significantly contributed to the foundation of music professionalism in his country.

Biography edit

Predrag Milošević was born in 1904 in Knjaževac. He began his music education at the Music School in Belgrade, and between 1922 and 1924 continued in Munich, and at the Prague State Conservatory. In Prague, he graduated in composition in 1926 with Professor Jaroslav Křička, in piano in 1928 with J. Prohaska, and conducting in 1931 with M. Doležil and P. Dědeček. Milošević supplemented his education at the Master school, where in 1930 he completed composition studies in the class of J. Suk and in 1931 a conducting seminar with N. Malko. Even as a student Milošević was a well known conductor of Prague's choirs. In 1932 he became the leader of the First Belgrade Singing Society, with which he won the first-place prize at the choral competition in Budapest in 1937. Upon his return to Belgrade in 1932 he was a conductor of the Belgrade Opera House and a piano teacher at the Music School in which he would serve as director from 1946 to 1948.

He became a docent for theory subjects at the Music Academy (today Faculty of Music, University of Arts, in Belgrade [FMU]), and a full professor of composition and conducting. Milošević was the Dean of the Faculty of Music from 1960 to 1967. His students included composer Darinka Simic-Mitrovic.[1] His overall engagement in the music life of Belgrade and Serbia was also fulfilled by his position of the Head of the Radio Belgrade Second Program music section (1950–51), director and conductor of the Serbian National Theatre in Novi Sad (1955–57), and president of the Association of Music Artists of Serbia (1951–53) and Composers' Association of Serbia (1958–60). Milošević was also active as a music writer (in journals The Sound (Zvuk) and The Music herald (Muzički glasnik in Serbian)) and as a translator – with Mihailo Vukdragović he co-translated K B. Jirak's The Study of musical forms, as well as numerous opera and operetta librettos and songs. Predrag Milošević is recipient of the Yugoslav Order of Labour with the Red Flag, and a music school in his birth town, Knjaževac is named after him.

Works edit

Sinfonietta (1930) is Milošević's diploma work in the class of Josef Suk and at the same time the first work of this kind in the history of Serbian music. The introduction of the first movement's sonata form features an anticipation of subsequent theme in fugato. A humorous second subject is delivered first in bassoons, and then in oboes. In the development, the composer exhibits his contrapuntal skills, and recapitulation of the first subject along with the brief recollection of the second subject completes this movement of a predominantly cheerful spirit. The slow movement that opens with the appearance of a muted trumpet followed by a melody developed and later imitated over tremolos and trills, resembles a nocturne. The middle, scherzo-like part is based on a prominent motive, later transformed to imply a caricatured waltz. The final movement is conceived in the form of a Rondo with three themes ending with an energetic bass bassoon solo.

Sonatina for piano (1926), with its prominent historicist and modernist tendencies represents one of the most performed works by Predrag Milošević. The first movement's sonata form consists of three thematic ideas very skilfully developed within an idiomatic instrumental technique. The slow movement rests on a variation form based on the theme “Cvekje cafnalo” extracted form Stevan St. Mokranjac's Song-Wreath (Rukovet in Serbian) no. 12. Recalling the work of Mokranjac—the titan of Serbian music and history—composer Milošević seemingly intended to nest his compositional skills into historical and aesthetic coordinates of Serbian musical canon built around its central player, Stevan Mokranjac. By their order, variations transpire an arch-shaped form, developing from a somewhat calm to a more playful motion, and back to equanimity. The principal, toccata-like processed material of the last movement is countered by a brief, lyrical intermezzo, followed by a fierce coda at the work's end.

In the String quartet (1928), Milošević enriched his expression by the more pronounced use of polytonal and atonal chords, but nonetheless in the aspects of form and polyphonic work remained grounded within modernist canonical criteria. The first movement delivers two subjects—one voluble and the other somewhat pathetic. The ensuing musical narrative develops upon contrapuntal interaction of the two subjects until their reduced reoccurrence in recapitulation. The second movement features passacaglia with sixteen variations. Their order is defined by their individual textural complexity and by shifting the main theme in higher registers, from the first violin downward, ending the movement in the cello part. The historicist impetus, this time directed at J. S. Bach as a symbol of a Western European composition canon, is yet again underscored in this work by Predrag Milošević. Choosing to end his quartet with a fugue featuring the B-A-C-H motive, Milošević “aligned” himself not only with Bach but with a host of those who used the motive based on the same notes as a code among followers of this compositional and aesthetic doctrine.

Significant works edit

Orchestral works:

  • Sinfonietta (1930)

Solo pieces:

  • Sonatina for piano (1926)

Chamber works:

  • String quartet (1928)

Lied:

  • Recruits on the march (Regruti u maršu), (1937)
  • Conversation between peasants and a foreign reporter (Razgovor seljaka sa stranim novinarom), (1949)
  • Two daughters-in-law, one son-in-law (Dve snahe, jedan zet), song cycle (1977)

Sheet Music

  • Sinfonietta, PGP RTB, LP 2510, Contemporary national composers, 1974.

References edit

  1. ^ Cohen, Aaron I. (1987). International Encyclopedia of Women Composers. Books & Music (USA). ISBN 978-0-9617485-2-4.

Literature edit

  • Mikić, Vesna. 2009. The Faces of Serbian music – Neoclassicism (Lica srpske muzike – neoklasicizam). Belgrade: FMU.
  • Peričić, Vlastimir. 1969. Composers in Serbia (Muzički stvaraoci u Srbiji). Belgrade: Prosveta.

January 01, 1970
predrag, milošević, other, people, named, disambiguation, serbian, cyrillic, Предраг, Милошевић, february, 1904, knjaževac, january, 1988, belgrade, composer, conductor, pianist, pedagogue, music, writer, those, musicians, from, serbia, completed, their, unive. For other people named Predrag Milosevic see Predrag Milosevic disambiguation Predrag Milosevic Serbian Cyrillic Predrag Milosheviћ February 4 1904 in Knjazevac January 4 1988 in Belgrade was a composer conductor pianist pedagogue and music writer As one of those musicians from Serbia who completed their university education in Prague upon his return Milosevic significantly contributed to the foundation of music professionalism in his country Contents 1 Biography 2 Works 3 Significant works 4 References 5 LiteratureBiography editPredrag Milosevic was born in 1904 in Knjazevac He began his music education at the Music School in Belgrade and between 1922 and 1924 continued in Munich and at the Prague State Conservatory In Prague he graduated in composition in 1926 with Professor Jaroslav Kricka in piano in 1928 with J Prohaska and conducting in 1931 with M Dolezil and P Dedecek Milosevic supplemented his education at the Master school where in 1930 he completed composition studies in the class of J Suk and in 1931 a conducting seminar with N Malko Even as a student Milosevic was a well known conductor of Prague s choirs In 1932 he became the leader of the First Belgrade Singing Society with which he won the first place prize at the choral competition in Budapest in 1937 Upon his return to Belgrade in 1932 he was a conductor of the Belgrade Opera House and a piano teacher at the Music School in which he would serve as director from 1946 to 1948 He became a docent for theory subjects at the Music Academy today Faculty of Music University of Arts in Belgrade FMU and a full professor of composition and conducting Milosevic was the Dean of the Faculty of Music from 1960 to 1967 His students included composer Darinka Simic Mitrovic 1 His overall engagement in the music life of Belgrade and Serbia was also fulfilled by his position of the Head of the Radio Belgrade Second Program music section 1950 51 director and conductor of the Serbian National Theatre in Novi Sad 1955 57 and president of the Association of Music Artists of Serbia 1951 53 and Composers Association of Serbia 1958 60 Milosevic was also active as a music writer in journals The Sound Zvuk and The Music herald Muzicki glasnik in Serbian and as a translator with Mihailo Vukdragovic he co translated K B Jirak s The Study of musical forms as well as numerous opera and operetta librettos and songs Predrag Milosevic is recipient of the Yugoslav Order of Labour with the Red Flag and a music school in his birth town Knjazevac is named after him Works editSinfonietta 1930 is Milosevic s diploma work in the class of Josef Suk and at the same time the first work of this kind in the history of Serbian music The introduction of the first movement s sonata form features an anticipation of subsequent theme in fugato A humorous second subject is delivered first in bassoons and then in oboes In the development the composer exhibits his contrapuntal skills and recapitulation of the first subject along with the brief recollection of the second subject completes this movement of a predominantly cheerful spirit The slow movement that opens with the appearance of a muted trumpet followed by a melody developed and later imitated over tremolos and trills resembles a nocturne The middle scherzo like part is based on a prominent motive later transformed to imply a caricatured waltz The final movement is conceived in the form of a Rondo with three themes ending with an energetic bass bassoon solo Sonatina for piano 1926 with its prominent historicist and modernist tendencies represents one of the most performed works by Predrag Milosevic The first movement s sonata form consists of three thematic ideas very skilfully developed within an idiomatic instrumental technique The slow movement rests on a variation form based on the theme Cvekje cafnalo extracted form Stevan St Mokranjac s Song Wreath Rukovet in Serbian no 12 Recalling the work of Mokranjac the titan of Serbian music and history composer Milosevic seemingly intended to nest his compositional skills into historical and aesthetic coordinates of Serbian musical canon built around its central player Stevan Mokranjac By their order variations transpire an arch shaped form developing from a somewhat calm to a more playful motion and back to equanimity The principal toccata like processed material of the last movement is countered by a brief lyrical intermezzo followed by a fierce coda at the work s end In the String quartet 1928 Milosevic enriched his expression by the more pronounced use of polytonal and atonal chords but nonetheless in the aspects of form and polyphonic work remained grounded within modernist canonical criteria The first movement delivers two subjects one voluble and the other somewhat pathetic The ensuing musical narrative develops upon contrapuntal interaction of the two subjects until their reduced reoccurrence in recapitulation The second movement features passacaglia with sixteen variations Their order is defined by their individual textural complexity and by shifting the main theme in higher registers from the first violin downward ending the movement in the cello part The historicist impetus this time directed at J S Bach as a symbol of a Western European composition canon is yet again underscored in this work by Predrag Milosevic Choosing to end his quartet with a fugue featuring the B A C H motive Milosevic aligned himself not only with Bach but with a host of those who used the motive based on the same notes as a code among followers of this compositional and aesthetic doctrine Significant works editOrchestral works Sinfonietta 1930 Solo pieces Sonatina for piano 1926 Chamber works String quartet 1928 Lied Recruits on the march Regruti u marsu 1937 Conversation between peasants and a foreign reporter Razgovor seljaka sa stranim novinarom 1949 Two daughters in law one son in law Dve snahe jedan zet song cycle 1977 Sheet Music Sinfonietta PGP RTB LP 2510 Contemporary national composers 1974 References edit Cohen Aaron I 1987 International Encyclopedia of Women Composers Books amp Music USA ISBN 978 0 9617485 2 4 Literature editMikic Vesna 2009 The Faces of Serbian music Neoclassicism Lica srpske muzike neoklasicizam Belgrade FMU Pericic Vlastimir 1969 Composers in Serbia Muzicki stvaraoci u Srbiji Belgrade Prosveta Retrieved from https en wikipedia org w index php title Predrag Milosevic amp oldid 1216921944, wikipedia, wiki, book, books, library,

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