[{"@context":"http:\/\/schema.org\/","@type":"BlogPosting","@id":"https:\/\/wiki.edu.vn\/en\/wiki24\/rajko-maksimovic-wikipedia\/#BlogPosting","mainEntityOfPage":"https:\/\/wiki.edu.vn\/en\/wiki24\/rajko-maksimovic-wikipedia\/","headline":"Rajko Maksimovi\u0107 – Wikipedia","name":"Rajko Maksimovi\u0107 – Wikipedia","description":"before-content-x4 Rajko Maksimovi\u0107 (Serbian Cyrillic: \u0420\u0430\u0458\u043ao \u041c\u0430\u043a\u0441\u0438\u043c\u043e\u0432\u0438\u045b; 27 July 1935, Belgrade) is a composer, writer, and music pedagogue. 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One of the most significant Serbian composers of our time, Maksimovi\u0107 has been and remains active in creating works for different ensembles.       (adsbygoogle = window.adsbygoogle || []).push({});after-content-x4Table of ContentsBiography[edit]Writings[edit]Musical language[edit]List of significant works[edit]Sheet music[edit]Selected recordings[edit]Bibliography[edit]Biography[edit]Rajko Maksimovi\u0107 graduated in 1961, and in 1965 received a master’s degree in composition from the Music Academy in Belgrade (today Faculty of Music, University of Arts in Belgrade (FMU)) in the class of Professor Predrag Milo\u0161evi\u0107. Following the completion of his master’s program and as a recipient of a Fulbright grant, he attended Princeton University, New Jersey, with a main focus on electronic music. In 1963 Maksimovi\u0107 was appointed an assistant professor, and in 1967 a docent at the Department for Composition and Orchestration at the Belgrade Music Academy. He retired in 2001 as Professor of Music Composition. Rajko Maksimovi\u0107 is a recipient of numerous awards and his works are performed nationally and abroad. Three monographic concerts devoted exclusively to his oeuvre took place during his career, and most of his works have been recorded. Among the recordings, a particular emphasis belongs to a triple CD from 2002, two CDs from 2009, and The Saint Prince Lazarus Passion DVD from 2012\u2014all on the PGP RTS label (Radio Television of Serbia record label). In 1995, Radio Television Novi Sad produced a fifty-minute program about this composer and his work. Maksimovi\u0107 also authored a memoirist autobiographical trilogy entitled That\u2019s the Way It Was ((Tako je to bilo), 1998, 2001, and 2002).       (adsbygoogle = window.adsbygoogle || []).push({});after-content-x4Rajko Maksimovi\u0107 composed numerous vocal-instrumental, orchestral, chamber, choral, and soloist works, as well as pieces devoted to children. Among his most significant compositions are: vocal-instrumental When the Living Envied the Dead (1963), an epic partita for mixed choir and reduced orchestra, Three Haiku (1967) for female choir and twenty-four instruments, The Uprising against the Dahias (1978\/2004), a dramatic oratorio for two actors, mixed and children’s choirs, orchestra, and tape, The Testament of Petar Petrovi\u0107 Njego\u0161, Bishop of Montenegro (1986) for bass, choir, orchestra, and tape, and The Saint Prince Lazarus Passion (1989) for narrator, four vocal soloists, two choirs, and orchestra; orchestral Piano Concerto (1961\/2003), Musique de Devenir (1965), and Diptych for orchestra (1970); chamber pieces After the Scent of a Blossomed Cherry (1981) five haiku for soprano and chamber ensemble, Pr\u00e9lude “\u00e1 l’avant-midi d’un faune” (1994\/2011) for flute and strings, and She Sleeps Perhaps (1992\/2005), a soloist cantata for mezzo-soprano and chamber orchestra; choral Chants out of the Darkness (1975), a book of six madrigals for various a cappella choirs, and I Go calmly (from the Testament, 1986), Funeral (from the Passion, 1989), Our Father (from Temptation, 1994), and We Praise Thee, O God (2008), all for mixed a cappella choir.Maksimovi\u0107’s pieces for children include: A Baby-Elephant (1972) for baritone, children’s choir, and ensemble, Stars (1973) for mezzo-soprano, female octet, and ensemble, and Itchy Hills (A Stinging Nettle, 1980\/2008), music play for children.Writings[edit]Beside his three-volume autobiography, Maksimovi\u0107 also authored a study More on Modes ((\u0160ire o modusima) Serbian and English version, 1995), and books Basics of Notation ((Osnovi notnog pisma), textbook, 1999), The Speech of Music (in collaboration with Milo\u0161 Jevti\u0107 in the form of questions and answers, 2008), Travels through North America (2008), and The Second Travel through North America (2009).Musical language[edit]During his studies at the Belgrade Music Academy and in accordance with the Department of Composition and Orchestration curriculum requirements, Maksimovi\u0107 composed works of a prevalent neoclassical provenance. Following his graduation, he became involved with the concepts of the so-called Polish Composers\u2019 School (New Polish School). During this period, the works of Witold Lutos\u0142awski, specifically compositions based on principles of Aleatory and the use of clusters, became particularly attractive for Maksimovi\u0107. After acquiring the compositional techniques of Polish composers\u2019 and applying them in his own works, in 1975 Maksimovi\u0107 shifted his musical language and turned to inspiration found in (Serbian) tradition, \u2018returning\u2019 to modal idiom and simplicity, with occasionally heightened language by the use of clusters. This stylistic orientation has remained predominant in Maksimovi\u0107’s work until today.       (adsbygoogle = window.adsbygoogle || []).push({});after-content-x4Rajko Maksimovi\u0107 composed Musique de Devenir (1965) for his \u201cmaster\u2019s degree at the (Belgrade) Music Academy\u201d (Peri\u010di\u0107 1969, 239). This work could be considered a \u201ctrue aleatoric writing based on the principles of the Polish School\u201d (Veselinovi\u0107-Hofman 1983, 360). With an intention to present a gradual formation of a musical idea, Maksimovi\u0107 based this work on a B-A-C-H motive, progressively expanded to a twelve-tone collection. The rhythmic structure of Musique de Devenir is aleatoric, while its pitch designations are fixed.Inspired by Japanese poetry, in the Three Haiku, commissioned by the 1967 Music Biennale Zagreb, Maksimovi\u0107 \u2018paints\u2019 a distant, faraway Japanese scenery. In distinction to Musique de Devenir, only partially subjected to the aleatoric principle (Peri\u010di\u0107 1969, 242), the Three Haiku is entirely dominated by this principle. The particular instrumental timbre, and a specific treatment of the women’s choir often featuring voice movements at intervallic distances of seconds and abound in imprecisely notated whisper and parlando, served the composer for invoking the \u2018sound of Japan.\u2019 This work is also characterized by clusters built by aleatoric stratification of instruments that renders unique chordal \u2018coloration.\u2019Maksimovi\u0107 composed the book of six madrigals Chants out of the Darkness (1975) for a cappella choir upon literary texts by mostly anonymous medieval authors. The six independent and rather diverse compositions, conceived from 1973-75 primarily evoke forms of Italian madrigals, thus are often interpreted as the composer’s return to tradition. Among the main features of this work are: modal centricity and word painting as representative of madrigals, the linear notion of the melodic line, and focusing on the denotative dimension of the text, with occasional dissonances, cluster textures, and \u201cfrictions within the vertical (constellations)\u201d (Veselinovi\u0107-Hofman 1997, 63).The Saint Prince Lazarus Passion completed in 1989 and conferred the October Award of Belgrade, represents the most comprehensive and most significant work of Rajko Maksimovi\u0107, not only within the vocal-instrumental genre, but within his entire oeuvre. The following is a description of the Passion in the composer’s words:\u201cI envisaged the Passion\u2014and realized it, I believe\u2014as a drama, that is, as action. I imagine the future listener of the Passion as a pilgrim who comes to Kosovo field where he encounters the Kosovo Pillar. The pilgrim reads an Inscription, whereas the Pillar in fact narrates the inscription thus introducing the pilgrim to the plot. Lazar of Serbia speaks at that very moment. The visitor turns around looking at Kosovo field filled with \u2018the bones of the dead in great multitude\u2019 and thus the story commences (\u2018Prologue\u2019). At first, the scene represents a peaceful prosperity, happiness, and beauty (Ravanica Monastery), but it is shortly followed by \u2018Forebodings\u2019 (a solar eclipse and the falling star) anticipating a number of calamities and disasters (earthquake, hunger, plague, and raids). The first real catastrophe takes place in 1371, when \u2018the wrath of the Lord came upon Serbs\u2019 allowing their bloody slaughter in the Battle of Maritsa. Consequently, after the battle, Lazar’s Serbia gets a very evil neighbor, one who assaults our territory, largely raiding, murdering, brutalizing, and imprisoning (\u2018Menace\u2019). Realizing that the day of the ultimate combat has approached, Prince Lazar at first addresses God for help (\u2018Prayer\u2019), then summons his noblemen, dukes, and other warriors, and through his solemn and inspiring patriotic \u2018Sermon\u2019 invites them to a brave and proud death, to a conscious but dignified sacrifice into the heavenly kingdom in the name of a superior morality, humanity, and justice. At that moment, the Prince identifies himself with his people (and as it will be seen, the people identify with the Prince) and the Sermon is sung together by Lazar and the chorus. Following the Sermon, the \u2018Warriors take Oath\u2019 to their Prince and before all stands the bravest among them, the future hero and national legend\u2014Milo\u0161. The combative and patriotic pledges follow one another, sublimed at the end by the shortest one (\u2018Let us die to live in eternity\u2019) delivered in fugato and representing the appeal and command for the strike. The two choruses take part in the \u2018Battle\u2019 in a manner of exchanging the sound and rapid eighth notes\u2019 motion between choruses (from left to right), creating I believe, for a part of the audience (at particular seating locations, depending on the performance space) an impression of being amidst the very battle! After three grandiose \u2018waves,\u2019 the music stops culminating in a sudden absence of sound whereas the Narrator announces Lazar’s tragic fate\u2014all his men were slain including Lazar himself! In a somewhat longer speech that follows, (intended to provide relief from \u2018the clashing of arms and the cries of horses and men\u2019) the Narrator takes us to the Prince’s \u2018Funeral.\u2019 In an ecstatic \u2018Lament,\u2019 Princess Milica parts with her husband, and the priests surrounded by gathered people sing the final funeral chorale. After hearing, seeing, and experiencing the entire story, our pilgrim (the Passion’s sole witness) slowly departs while the singing of the funeral procession grows quieter. The Pillar sees him away with the very same words from the Prologue, but here, in the Epilogue, with the trice added warning: \u2018Thou shall not pass by… and take no notice!\u2019 that is, \u2018you will not forget.\u2019\u201dList of significant works[edit]Choral and Vocal-Instrumental:When the Living Envied the Dead (Kad su \u017eivi zavideli mrtvima) (1963), an epic partita for mixed choir and reduced orchestra (version in English language, 2008)Three Haiku (1967), for female choir and twenty-four instrumentsChants out of the Darkness (Iz tmine pojanje) (1975), a book of six madrigalsThe Uprising against the Dahias (Buna protiv dahija) (1978, revised 2004), a dramatic oratorio for two actors, mixed and children’s choirs, orchestra, and tapePalabras en Piedra (Re\u010di u kamenu; Words in Stone) (1980), for mixed choirPrometheus (1985), for mixed choirThe Testament of Petar Petrovi\u0107 Njego\u0161, Bishop of Montenegro (Testament vladike crnogorskog Petra Petrovi\u0107a Njego\u0161a) (1986), for bass, mixed choir, orchestra, and tape (version in English, 2007)I Go calmly (Ja na Tvoj poziv) (from the Testament, 1986), for mixed choir (version in English, 2007)The Saint Prince Lazarus Passion (Pasija svetoga kneza Lazara) (1989), for narrator, four vocal soloists, two choirs, and orchestra (version in English, 2008)Funeral (Sahrana) (from the Passion, 1989), for mixed choir (version in English, 2008)Fate [Sudba] (1993), for mixed choirTemptation, Feat, and Death of Saint Peter of Korisha (Isku\u0161enje, podvig i smrt Sv. Petra Kori\u0161kog) (1994), for narrator, three soloists, mixed choir, orchestra, and tapeOur Father (Ot\u010de na\u0161) (from Temptation, 1994), for mixed choir (version in Latin (Pater noster), 2001)This and That (Ovo i ono) (1995), for mixed choirColored (1996), for mixed choir and double bassO-TRIM-PARA (2004), for mixed choirPsalm 90 (2005), for mixed and children choirs, flute, trumpet, and hornHohes Lied (Pesma nad pesmama; The Song of Songs) (2007), for mixed choirWe Praise Thee, O God (Tebe Boga hvalim) (2008), for mixed choirOrchestral:Piano Concerto (1961, revised 2003)Musique de Devenir (Muzika postajanja) (1965)Diptych for Orchestra (Not to be or to be? a dilemma for orchestra, 1969 and Eppur si muove, 1970)Suite for Orchestra (2009), four reworked movements from The Saint Prince Lazarus PassionChamber:Partita Concertante (1965), for violin and thirteen stringsTwo Basho\u2019s Haiku (1966), for voice, flute, violin, piano, and tapeTrialogue (1968), for clarinet, string trio, and pianoJeu \u00e1 Quatre (1977), for two pianos in eight handsConcerto non Grosso (1978), for school stringsTenderly? (1979), for chamber ensembleAfter the Scent of a Blossomed Cherry (Za mirisom rascvetale tre\u0161nje) (1981), five haiku for soprano and chamber ensembleAve Maria (1985\/2004), for choir, flute, piano, and stringsShe Sleeps Perhaps (Mo\u017eda spava) (1992\/2005), a soloist cantata for mezzo-soprano and chamber orchestra (or for mezzo-soprano, flute, and piano; version in English, 2006)Pr\u00e9lude “\u00e1 l’avant-midi d’un faune” (Prelid za pre podne jednog fauna) (1994\/2011), for flute and strings (or for flute, violin, and piano)Les Proverbes de F\u00e9nis (Poslovice iz Fenisa) (1995\/2010), for four voices and ensemble of ancient instrumentsThe Garland (Rukovet) (2003\/2009), for flute, violin, and strings (or for flute, violin, and piano)Jeu \u00e1 deux (Igra udvoje) (2006), for piano duoSuite from Passion (2009), for violin and stringsSolo:Music for Children:A Baby-elephant (Slon\u010de 1972) for baritone, children’s choir, and ensembleUncle\u2019s bugging me (Gnjavi me te\u010da) (1972), for (child) soprano, children’s choir, and ensembleI was Told (Reko\u0161e mi) (1972), for baritone, children’s choir, and ensembleStars (Zvezde) (1973), for mezzo-soprano, female octet, and ensembleIf There Were No Stars (Da nije zvezda) (1973), for mezzo-soprano, female octet, and ensembleThe Three Floor Patient (Bolesnik na tri sprata) (1973), for two-part children’s choir and pianoPretty Kata (Lepa Kata) (1974), for voice and pianoThe Blue Ant (Plavi mrav) (1974), for voice and pianoItchy Hills (A Stinging Nettle) (Svrbe\u0107a brda, Koprive) (1980\/2008), music play for childrenA l\u2019\u00e9cole des animaux (2009), for two-part children’s choir, flute, and pianoSheet music[edit]Composer’s sheet music and scores are available at:Selected recordings[edit]When the Living Envied the Dead (Kad su \u017eivi zavideli mrtvima), The Uprising against the Dahias (Buna protiv dahija), Orchestral and Chamber music (1965\u201377), and The Saint Prince Lazarus Passion (Pasija Svetoga kneza Lazara). PGP RTS, 3 CDs, 341388.The Testament and Vocal Music. PGP RTS, CD 431951.Temptation, Feat, and Death of Saint Peter of Korisha (Isku\u0161enje, podvig i smrt Sv. Petra Kori\u0161kog) and Chants out of the Darkness (Iz tmine pojanje). PGP RTS, CD 432095.The Saint Prince Lazarus Passion (Pasija Svetoga kneza Lazara), PGP RTS, DVD 491733Bibliography[edit]Bergamo, Marija. 1980. The Elements of expressionistic orientation in Serbian music (Elementi ekspresionisti\u010dke orijentacije u srpskoj muzici). Belgrade: University of Arts.Marinkovi\u0107, Sonja. 2009. A History of Serbian music, Belgrade: Zavod za ud\u017ebenike.Miki\u0107, Vesna. 2007. \u201eThe Neoclassical tendencies\u201d (Neoklasi\u010dne tendencije). In A History of Serbian music. Belgrade: Zavod za ud\u017ebenike.Peri\u010di\u0107, Vlastimir. 1969. Composers in Serbia (Muzi\u010dki stvaraoci u Srbiji). Belgrade: Prosveta.Stojanovi\u0107-Novi\u010di\u0107, Dragana and Marija Masnikosa. 2007. \u201cOrchestral music.\u201d In: A History of Serbian music. Belgrade: Zavod za ud\u017ebenike.Rajko Maksimovi\u0107 – personal web site     (adsbygoogle = window.adsbygoogle || []).push({});after-content-x4"},{"@context":"http:\/\/schema.org\/","@type":"BreadcrumbList","itemListElement":[{"@type":"ListItem","position":1,"item":{"@id":"https:\/\/wiki.edu.vn\/en\/wiki24\/#breadcrumbitem","name":"Enzyklop\u00e4die"}},{"@type":"ListItem","position":2,"item":{"@id":"https:\/\/wiki.edu.vn\/en\/wiki24\/rajko-maksimovic-wikipedia\/#breadcrumbitem","name":"Rajko Maksimovi\u0107 – Wikipedia"}}]}]