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NEMANJA RADIVOJEVIC

composer


Sound world of Radivojević’s music participates in a quasi-baroque formal construction, where the carnal pleasure is (re)discovered, the ideals of purity are rejected. Liberated from the fear of materiality and of the corporality, his music is engaged in playful artifice in which masks seem to be more truthful then the faces they hide.

Among the main aesthetic concepts Radivojevic is concerned with are instability, transformation, abundance of activity, fluidity, violence and continuous tension of human condition which lead him, in his recent compositions to work extensively on gestural, corporeal aspects of playing and listening, as well as its connection to the music expressivity.

In more general way, he is interested in the relation between the narrativity and performativity in music, and in the exploration of dramatic aspects of musical form. In elaborating the various relational models between the noise/harmonic fields of sounds and temporal/gestural fields he works on exploration of possible energy flows in a music form. An important source of his musical inspiration he finds in the literature.

Topics that Radivojevic is concern very much with is the relation between the formal/intellectual vigorousness in compositional process and the intuitive/improvised approach that accentuates the sensual/carnal attraction of a given music material.

His compositions have been performed by the ensembles Neue Vokalsolisten, Trio Accanto, MDI, Trio Abstruckt, Il Suono Giallo, Mise-en, Boston New Music Initiative, Proton Bern, Vortex, Oerknal!, Lucerne Festival Alumni Ensemble, Recherche, Asko/Schönberg, Interface, Contrechamps, AdHOC Ensemble, Ensemble Studio 6, Gradilište, Matka, Polygon, clarinetists Richard Haynes and Paolo Casiraghi, guitarist Ruben Mattia Santorsa, saxophonist Michele Bianchini…

Radivojević’s music has been presented at the festivals such as Lavaux Classic in Cully, Festival Archipel in Geneva, Lucerne Summer Festival, Opening Festival in Trier, Cluj Modern Festival, Belgrade International Review of Composers, Musikfestival in Bern, Les rencontres d’été in Villeneuve-lès-Avignon, Delian Academy for New Music in Mykonos, ATM Festival in Seoul.

Radivojevic currently works as assistant at the Composition Department at the University of Music in Bern, and as scientific researcher in the project on non-equidistant microtone-music of 20th and 21st century «In hommage from the multitude» supported by the Swiss National Science Foundation, under the guidance of Dr. Roman Brotbeck.

In his musicological and theoretical research during his studies, his field of interest include the problematic of time in Gérard Grisey and Luigi Nono, questions of harmonic fields in Berio and Boulez, as well as timbre in the writings by Jean-Claude Risset.

Beside his composing and researching activities, Radivojevic has been active as music critic in the Swiss music journal for research and creation Dissonance, as well as in Swiss music journal (Schweizer Musikzeitung).

After graduating in guitar at the Academy of the Arts in Novi Sad, Nemanja Radivojević pursued his studies in Geneva (MA in theory of music, composition classes with Arturo Corrales) and in Bern (MA in Composition, with Xavier Dayer).

In addition to his formal education Radivojevic, had the opportunity to take extended private composition and electronics classes with Georgi Papageorgiou and Nicolas Tzortzis. He attended numerous masterclasses and summer academies with composers such as Simon Steen-Anderesen, Frank Bedrossian, Tristan Murail, Oscar Bianchi and Michael Finissey among others.

Besides his composition activities, Radivojevic is currently working on his PhD thesis (on the microtonal elements in the music of Jean-Claude Risset) in musicology at the University of Bern (Prof. Dr. Anselm Gerhard).


Nemanja Radivojevic debuts at PRISM Chamber Music Festival in 2019, with the work TSH<0.0001 for saxophone, percussion and piano, performed by EXORDIUM Collective conducted by Angus Lee.