... contemporary Croatian composer is Vjekoslav Nježić, a member of the middle generation of Croatian authors, a generation that includes many prominent names (S. Bradić, D. Bukvić, F. Đurović, O. Jelaska, K. Seletković, V. Čop etc.) and equally as many composing aesthetics as each one is wrapped in their own artistic worldview, a view of the creative act, so common bases or parallelisms hardly seem possible.
The fundamental question is what the elements of recognition are, those aspects according to which we can recognize the individuality of Vjekoslav Nježić’s creations.
The selection of four orchestral pieces, three of which use electronics, covers the period from 1999 until 2017, almost two decades of composing. During this period Nježić composed a number of other pieces for different ensembles, so they too could affirm – some more and some less – the basic features of Nježić’s composing expression.
A clear score, ostensibly simple, that relies on traditional rules of music notation, but in reality a complex one when one tries to look at it as a decoder of the author’s original ideas. Nježić is a composer who is very careful about the clarity of notation as he expects that through that clarity the basic thoughts that that notation expresses will reach the listener.
(Erika Krpan)
Cantus, 2019.
88924501232
