Composer Miroslav Miletić is in a certain way a unique figure of the second half of Croatian music, and especially of the 21st century music, the period which gave Croatian music characteristics that are distant from the traditional principles that composers such as Miletić kept in years of the mid-20th century long passed, when these principles were a certain moral vertical in elaborating their own music aesthetics.
Miletić belongs to the generation, or more precisely, a group of Croatian composers that were building means of music expression on traditional sources and knowledge, not trying ‘to forget everything they had learned during studies in order to start a new’ – as Milko Kelemen used to say.
Three Kajkavian Songs, for middle-range voice and piano (1956)
1. White Bridge
2. Little Path
3. Happy Church
Tihana Herceg, mezzosoprano
Lana Bradić, piano
4. Sonatina for violin and guitar (1981)
Allegro / Andante / Allegro
Tonko Ninić, violin
Darko Petrinjak, guitar
5. Hommage à Ferdo Livadić – Notturno (1922),
for piano and strings (2006)
Lana Bradić, piano
Zagreb soloists
6. Folklore cassations for string orchestra (1967)
Allegro / Scherzo / Andante tranquillo / Presto
Zagreb soloists
7. Concerto for harpsichord and strings (1992)
Višnja Mažuran, harpsichord
Zagreb soloists
8. Voice from Dubrovnik, movment for clarinet and strings (1991)
Bruno Philipp, clarinet
Zagreb soloists
