Zoran Erić (Зоран Ерић) (rođen 6 oktobra 1950) je kompozitor iz Beograda. Redovni je profesor Fakulteta muzičke umetnosti Univerziteta umetnosti u Beogradu, gde predaje kompoziciju, orkestraciju i primenjenu muziku.
Zoran Erić je rođen 6. oktobra 1950 u Beogradu. Muzičko školovanje započeo je u Karlovcu (Hrvatska). Svirao je klavir i violinu. Studirao je kompoziciju u Beogradu na Muzičkoj akademiji (danas Fakultetu muzičke umetnosti) gde je diplomirao i magistrirao u klasi Stanojla Rajičića. Za vreme studija pohađao je kurseve u Orff-institutu u Salzburgu (1976) i masterklas Witolda Lutoslawskog u Grožnjanu (1977).
Predaje na Fakultetu muzičke umetnosti od 1976 (redovni profesor na Katedri za kompoziciju od 1992). Vodio je radionice dečijeg muzičkog stvaralaštva (Grožnjan, Hrvatska, 1979 i 1980 sa Milanom Mihajlovićem) i seminare iz kompozicije (konzervatorijum Eiresia, Atina 1996, Guildhall School of Music and Drama, London 2000), a učestvovao u radu Letnje škole kompozicije Aleksandre Vrebalov u Somboru (2009). Erić je bio član žirija međunarodnog takmičenja Premio Valentino Bucchi di Roma capitale (violončelo i gudački kvartet) 1990, Međunarodnog takmičenja Muzičke omladine 1986 i 2007. Bio je, takođe, selektor festivala Muzika u Srbiji 1987 i Međunarodne tribine kompozitora 1994.
He was Vice-Dean (Faculty of Music 1992-1998) and Vice-Rector (University of Arts 2000-2004)
[1]. He is presently Head of Department of Composition (since 2007)
[2], member of the Executive Board of Serbian music copyright agency
SOKOJ (since 2000) and artistic director of Belgrade Music Feastival
BEMUS (since 2011). Erić received numerous awards for his work.
Composers Ana Mihajlović
[3], Jelena Jančić
[4], Goran Kapetanović, Tatjana Milošević
[5], Božidar Obradinović
[6], Szilard Mezei
[7], Vladimir Pejković
[8], Ivana Ognjanović
[9] and Branka Popović
[10], among others have studied in Erić’s class. He has also worked with
Aleksandra Vrebalov
[11], Ana Sokolović
[12], Anja Đorđević
[13], Marko Nikodijević
[14], Ivan Brkljačić
[15], Svetlana Savić
[16] and Milan Aleksić.
Erić's music has been performed widely across the world at major festivals and venues including
Prague Spring International Music Festival,
City of London Festival,
Dubrovnik Summer Festival,
Ohrid Summer Festival,
Inter-Society for the Electronic Arts (ISEA 94)
[17],
BEMUS,
ISCM World Music Days,
Barbican Hall,
Cankarjev dom (Ljubljana), Rector's Palace Atrium (Dubrovnik),
Konserthuset (Stockholm),
Vatroslav Lisinski Concert Hall (Zagreb), Kammermusiksaal der
Berliner Philharmoniker,
Church of St. Sophia (Ohrid),
Wigmore Hall, De Ijsbreker,
Sibelius Academy Chamber Music Hall (Helsinki), etc. by international artists including Belgrade Strings, St. George Strings,
Irish Chamber Orchestra, Kreisler Strings,
Zagreb Soloists, 12 Cellisten der Berliner Philharmoniker, Camerata Serbica, Collegium musicum female choir,
Belgrade Philharmonic Orchestra,
Živojin Zdravković, Dušan Miladinović, Keneth Jean, Pavle Dešpalj,
James Judd,
Uroš Lajovic, Aleksandar Pavlović, Bojan Suđić, Darinka Matić-Marović, David Takeno, So-Ock Kim, Malachy Robinson, Jon Bogdan Stefanescu, Marija Špengler, Arisa Fujita, Nebojša Ignjatović, Sophie Langdon, Miloš Petrović,
Emanuel Pahud, Ljubiša Jovanović, Youngchang Cho, Aleksandar Madžar and Dejan Mlađenović among others.
Erić has an impressive track-record in composing for the theatre. He had a very good artistic partnership with coreographers and directors like Lidija Pilipenko
[18], Sonja Vukićević
[19],
Haris Pašović, Gorčin Stojanović, Nikita Milivojević,
Vida Ognjenović,
Nebojša Bradić, Milan Karadžić, Dejan Mijač,
Boro Drašković, Ivana Vujić, Ljiljana Todorović and Egon Savin among others.
Erić's opus includes different genres. Already in his early works he expresses a tendency towards clarity, formal perspicuity and the synthesis of a "different images", establishing the bases of his own musical expression in the choreographic piece for orchestra Behind the Sun's Gate and Concerto for Orchestra and Soloists. The need to shape his musical expression as his own synthesis of total sound surrounding him, already evident in Mirage, is developed by in the compositions Erić wrote about two years later: the ballet Elizabeth the Princess of Montenegro and the choir Subito.
His work during the 80s is marked by three key compositions: Off - as music beyond his own vocabulary until that time, Cartoon - as a play of basic emotional clichés and rudimentary gests of movement and Talea Konzertstück – as a "gliding" towards open sensitivity.
In the 1990s Erić created the five-part cycle Images of Chaos (1990—1997) in which he sharpens and sublimates the principles of his mature musical expression. The cycle contains: The Great Red Spot of Jupiter, The Abnormal Beats of Dogon, Helium in a Small Box, I Have Not Spoken and Oberon Concerto. The modelling of chaos, «a process rather than a state, becoming rather than being», served as a paradigm to Eric's tendencies to create the personal image of a non-transparent and chaotic entity. The music is «processed» through the phases (movements) Unawareness, Resistance, Anger, Wondering and Acceptance which became a general “formal map” of all compositions from the cycle Images of Chaos.
In the same period as the cycle Images of Chaos (from 1989) he started to compose music for theatre and film. Both types of Eric's production, theatre and film music and the "classical" works (from the Chaos cycle as well as his music after 2000 - Six Scenes – Comments, Con suono pieno, Who shot a Seagull? Don’t you remember, you shot a seagull! (A. Chekhov), Seven Glances at the Sky, Entr'acte, B’n’R (Blues & Rhythm)), are specifically amalgamated and mutually imbued by common compositional-technical moves.
fmu1
was invoked but never defined (see the
help page).Zoran Erić (Зоран Ерић) (rođen 6 oktobra 1950) je kompozitor iz Beograda. Redovni je profesor Fakulteta muzičke umetnosti Univerziteta umetnosti u Beogradu, gde predaje kompoziciju, orkestraciju i primenjenu muziku.
Zoran Erić je rođen 6. oktobra 1950 u Beogradu. Muzičko školovanje započeo je u Karlovcu (Hrvatska). Svirao je klavir i violinu. Studirao je kompoziciju u Beogradu na Muzičkoj akademiji (danas Fakultetu muzičke umetnosti) gde je diplomirao i magistrirao u klasi Stanojla Rajičića. Za vreme studija pohađao je kurseve u Orff-institutu u Salzburgu (1976) i masterklas Witolda Lutoslawskog u Grožnjanu (1977).
Predaje na Fakultetu muzičke umetnosti od 1976 (redovni profesor na Katedri za kompoziciju od 1992). Vodio je radionice dečijeg muzičkog stvaralaštva (Grožnjan, Hrvatska, 1979 i 1980 sa Milanom Mihajlovićem) i seminare iz kompozicije (konzervatorijum Eiresia, Atina 1996, Guildhall School of Music and Drama, London 2000), a učestvovao u radu Letnje škole kompozicije Aleksandre Vrebalov u Somboru (2009). Erić je bio član žirija međunarodnog takmičenja Premio Valentino Bucchi di Roma capitale (violončelo i gudački kvartet) 1990, Međunarodnog takmičenja Muzičke omladine 1986 i 2007. Bio je, takođe, selektor festivala Muzika u Srbiji 1987 i Međunarodne tribine kompozitora 1994.
He was Vice-Dean (Faculty of Music 1992-1998) and Vice-Rector (University of Arts 2000-2004)
[1]. He is presently Head of Department of Composition (since 2007)
[2], member of the Executive Board of Serbian music copyright agency
SOKOJ (since 2000) and artistic director of Belgrade Music Feastival
BEMUS (since 2011). Erić received numerous awards for his work.
Composers Ana Mihajlović
[3], Jelena Jančić
[4], Goran Kapetanović, Tatjana Milošević
[5], Božidar Obradinović
[6], Szilard Mezei
[7], Vladimir Pejković
[8], Ivana Ognjanović
[9] and Branka Popović
[10], among others have studied in Erić’s class. He has also worked with
Aleksandra Vrebalov
[11], Ana Sokolović
[12], Anja Đorđević
[13], Marko Nikodijević
[14], Ivan Brkljačić
[15], Svetlana Savić
[16] and Milan Aleksić.
Erić's music has been performed widely across the world at major festivals and venues including
Prague Spring International Music Festival,
City of London Festival,
Dubrovnik Summer Festival,
Ohrid Summer Festival,
Inter-Society for the Electronic Arts (ISEA 94)
[17],
BEMUS,
ISCM World Music Days,
Barbican Hall,
Cankarjev dom (Ljubljana), Rector's Palace Atrium (Dubrovnik),
Konserthuset (Stockholm),
Vatroslav Lisinski Concert Hall (Zagreb), Kammermusiksaal der
Berliner Philharmoniker,
Church of St. Sophia (Ohrid),
Wigmore Hall, De Ijsbreker,
Sibelius Academy Chamber Music Hall (Helsinki), etc. by international artists including Belgrade Strings, St. George Strings,
Irish Chamber Orchestra, Kreisler Strings,
Zagreb Soloists, 12 Cellisten der Berliner Philharmoniker, Camerata Serbica, Collegium musicum female choir,
Belgrade Philharmonic Orchestra,
Živojin Zdravković, Dušan Miladinović, Keneth Jean, Pavle Dešpalj,
James Judd,
Uroš Lajovic, Aleksandar Pavlović, Bojan Suđić, Darinka Matić-Marović, David Takeno, So-Ock Kim, Malachy Robinson, Jon Bogdan Stefanescu, Marija Špengler, Arisa Fujita, Nebojša Ignjatović, Sophie Langdon, Miloš Petrović,
Emanuel Pahud, Ljubiša Jovanović, Youngchang Cho, Aleksandar Madžar and Dejan Mlađenović among others.
Erić has an impressive track-record in composing for the theatre. He had a very good artistic partnership with coreographers and directors like Lidija Pilipenko
[18], Sonja Vukićević
[19],
Haris Pašović, Gorčin Stojanović, Nikita Milivojević,
Vida Ognjenović,
Nebojša Bradić, Milan Karadžić, Dejan Mijač,
Boro Drašković, Ivana Vujić, Ljiljana Todorović and Egon Savin among others.
Erić's opus includes different genres. Already in his early works he expresses a tendency towards clarity, formal perspicuity and the synthesis of a "different images", establishing the bases of his own musical expression in the choreographic piece for orchestra Behind the Sun's Gate and Concerto for Orchestra and Soloists. The need to shape his musical expression as his own synthesis of total sound surrounding him, already evident in Mirage, is developed by in the compositions Erić wrote about two years later: the ballet Elizabeth the Princess of Montenegro and the choir Subito.
His work during the 80s is marked by three key compositions: Off - as music beyond his own vocabulary until that time, Cartoon - as a play of basic emotional clichés and rudimentary gests of movement and Talea Konzertstück – as a "gliding" towards open sensitivity.
In the 1990s Erić created the five-part cycle Images of Chaos (1990—1997) in which he sharpens and sublimates the principles of his mature musical expression. The cycle contains: The Great Red Spot of Jupiter, The Abnormal Beats of Dogon, Helium in a Small Box, I Have Not Spoken and Oberon Concerto. The modelling of chaos, «a process rather than a state, becoming rather than being», served as a paradigm to Eric's tendencies to create the personal image of a non-transparent and chaotic entity. The music is «processed» through the phases (movements) Unawareness, Resistance, Anger, Wondering and Acceptance which became a general “formal map” of all compositions from the cycle Images of Chaos.
In the same period as the cycle Images of Chaos (from 1989) he started to compose music for theatre and film. Both types of Eric's production, theatre and film music and the "classical" works (from the Chaos cycle as well as his music after 2000 - Six Scenes – Comments, Con suono pieno, Who shot a Seagull? Don’t you remember, you shot a seagull! (A. Chekhov), Seven Glances at the Sky, Entr'acte, B’n’R (Blues & Rhythm)), are specifically amalgamated and mutually imbued by common compositional-technical moves.
fmu1
was invoked but never defined (see the
help page).