Vlastimir Trajković (1947-2017) studied with Olivier Messiaen and was the first Serbian composer to structurally apply elements of minimalism to the originally impressionistic harmonic expression of his music from the early 1970s onwards. His 10 Preludes for Guitar is a work of refined melodies and subtle harmonies that contains the composer's musical reminiscences of Serbian, Brazilian and Spanish folk music as well as jazz.

Isidora Žebeljan (1967-2020) possesses a musical originality that is the product of an exceptionally authentic ability to organically fuse musical elements from different spheres of influence (from ancient Balkan folk traditions to rock and pop music) into new, previously unknown sound contexts. Her 3 pieces for guitar are delicate and filigree, like a child's guide through a fairytale world, with delicious echoes of the Balkans and the Mediterranean. The intimate Letter from the Judean Desert, with its lonely, distant and almost endless melody, was written as a chorale for any combination of instruments or voices.

Dušan Radić (1929-2010) studied with both Milhaud and Messiaen and created an authentic integration of musical elements from folk and pop music together with modal singing and jazz. His cheerful vignettes are derived from his earlier choral music and reuse some old, funny, almost childlike folk tunes.

Veljko Nenadić (born 1998) is the winner of several international awards. He studied composition with Isidora Žebeljan as a child prodigy and writes music that is characterized by powerful energy, surprise, humour and emotional tenderness. His Festa na lua (Portuguese for "party on the moon") is a tribute to the Brazilian composer and multi-instrumentalist Hermeto Pascoal and the generations of musicians who created Brazilian jazz after bossa nova.

Dragana Jovanović (born 1963) composes in an eclectic, post-modern idiom, often with baroque motoric rhythms and virtuoso performance. Pushc Y Me ("Let me go") is her arrangement of an old traditional song from North Macedonia for double bass and guitar. Her composition Pure Energy evokes the energy of tenderness, slightly colored by elements of the blues.

Dušan Bogdanović (born 1955) has developed a personal style that combines classical music, folk music traditions, Byzantine chants and jazz. For his Preamble and Ricercare for violin and guitar, he opted for the musical atmosphere of early Baroque and Renaissance music for lute with its delicate modal harmonies.

Vuk Kulenović (1946-2017) combines elements of Balkan folk music with minimalism and Byzantine modes, which he also placed in a minimalist musical context. His energetic, moving music uses the aksak (irregular, additive) rhythms of the Balkans in combination with repetition. Toccatina is a virtuoso miniature with a motoric and restless musical flow.

Miloš Raičković (born 1956) studied with Olivier Messiaen and at the City University of New York. Minimalism had a decisive influence on him and he became one of the most important Serbian representatives of this style. He uses postmodern idioms to combine repetition with elements of classicism. His "Without You" is written as a reminiscence of Schubert's Fantasia in F minor D. 940.

Miloš Petrović (1952-2010) mainly wrote piano music, chamber music and multimedia works, often taking inspiration from ancient Byzantine music and composing in a pseudo-baroque idiom. This is wonderfully combined with folk music traditions from the Balkans and Spain in his "Averröes Dances", named after the 12th century Andalusian polymath.

Miroslav Tadić (born 1959) combines musical materials and influences from baroque music, Indian classical music, flamenco, various other folk music traditions, jazz, blues and rock. "Macedonian Girl" is his arrangement of a very popular North Macedonian folk song.

Further information:
Recorded in September 2020 in Amsterdam, in October 2023 in Treviso, in November 2023 in Silvelle (Italy) and in January 2024 in Ljubljana. Includes seven world premiere recordings (marked with * above). The booklet in English contains liner notes by Borislav Čičovački and biographies of the musicians.

The guitar music of Serbian composers of the 20th century offers a rich mixture of traditional elements of Balkan folk music and contemporary classical music trends. During this period, Serbian composers began to explore the guitar, an instrument not deeply rooted in the classical tradition of the region, but well suited to express the nuances of Serbian musical identity.

The composers presented are Vlastimir Trajković (1947-2017), Isidora Žebeljan (1967-2020), Dušan Radić (1929-2010), Veljko Nenadić (b. 1998), Dragana Jovanović (b. 1963), Dušan Bogdanović (born 1955), Vuk Kulenović (1946-2017), Miloš Raičković (born 1956), Miloš Petrović (1951-2021) and Miroslav Tadić (born 1959). An impressive line-up of highly talented composers, each with their own voice, but united by a common musical language rooted in the rich tradition of their country. Played with great love and dedication by Alberto Mesirca (guitar), Daniel Rowland (violin), Maja Bogdanović (cello) and Zoran Marković (double bass).