updated 24 January 2024
© Deborah Lopatin

Jug Marković

Serbian composer born 26 December 1987 in Belgrade.

Jug Marković holds a master’s degree in composition and orchestration from the Faculty of Music in Belgrade and a degree in archaeology from the Faculty of Philosophy. Over the course of his studies, he attended masterclasses by composers such as Enno Poppe, Georges Aperghis, Mark Andre, Fabien Levy, Raphaël Cendo, and Jorge Sánchez-Chiong. During his residency at Snape Maltings in 2017, he was mentored by the composer Michael Finnissy. He also completed another residency at the Calouste Gulbenkian Foundation in Portugal as part of the European Network of Opera Academies. In 2020-2021, he joined IRCAM’s Cursus program on composition and computer music.

Marković has also participated in numerous composition workshops such as the Académie Voix Nouvelles in Royaumont (2019), Time of Music (2019), reMusik.org Composition Course (2019), International Divertimento Ensemble Academy (2018), Impuls Academy for Contemporary Music in Graz (2017), Darmstadt Summer Course (2014), IRCAM’s ManiFeste (2017, 2018, and 2019), TENSO Young Composers Workshop (2017), Britten Pears Young Artists Programme (2017), and Donaueschingen Musiktage (2014).

His works have been played by the Ensemble Intercontemporain, Divertimento Ensemble, Mivos Quartet, Quatuor Diotima, Latvian Radio Choir, Chamber Choir Ireland, Gulbenkian Orchestra, Brussels Philharmonic, and RTS Symphony Orchestra, and at festivals such as ManiFeste, Donaueschinger Musiktage, Time of Music, Festival d’Aix-en-Provence, and New Music Dublin, among others.

Marković strives to compose intuitively and impulsively. Into each piece, he invests energy drawn from historically charged gestures, or mannerisms of the past. Through this “sound archaeology,” he seeks to detach these gestures or mannerisms from their original connotations. For example, he might incorporate academic singing techniques into something resembling popular electronic music or, on the contrary, he might take a pop approach to a voice that might be associated with contemporary composition, thus breaking down familiar structures and the listeners’ expectations. By first allowing himself to be overwhelmed by the sound object, Marković reshapes it into a subjective reinterpretation. He tries to free himself from strict and rigid premeditated concepts and systems, and states that he does not put any extra-musical intention into his works. His eclectic stylistic inspirations are incorporated into intense sound worlds with dense textures.

His piece Vokativ (2016) for orchestra was chosen by the International Music Council as a “recommended piece” for the 65th International Rostrum for Composers.

Awards and grants

  • Deutschlandstipendium, 2022
  • Goethe Institute Virtual Residency grant, 2021
  • EnsembleFestival, 2020
  • New Classics, 2020
  • Stevan Mokranjac Award, 2019
  • ISCM Young Composers Award, 2019, for his piece Nirvana
  • Tenso Young Composers Award, 2017
  • Anton Matasovsky Award, 2017, for his piece Egon
  • First Prize, Hong Kong International Percussion Convention Competition, 2016
  • Scholarship of the city of Belgrade, Ministry of Culture of Serbia, 2012

© Ircam-Centre Pompidou, 2021

Sources

Site du compositeur, BabelScores

  • Solo (excluding voice)
  • Chamber music
    • Magistralen for seven instruments (2014), 10 mn
    • motherTongue for six instruments (2016), 10 mn, BabelScores
    • Poison Comes in Small Bottles for alto saxophone, electric guitar, percussion and piano (2017), 2 mn 12 s
    • Rave for two pianos (2017), 4 mn 40 s
    • Hydra version for two pianos and two percussions (2015-2018), 7 mn 30 s
    • Hydra version for piano and three percussions (2015-2018), 7 mn 30 s
    • DOLMA (Insight into personal space of Yura Gomwick) for string quartet (2019), 11 mn
    • Steelworks for cello and accordion (2019), 12 mn, BabelScores
    • wash me blue for clarinet and cello (2019), 10 mn
    • elec Snake Fiction for trumpet, accordion, harp, percussion and electronics (2020), 14 mn
    • Madrigal for three violas (2021), 6 mn
    • Neon Seed for string quartet (2020-2021), 10 mn, BabelScores
    • elec rusty rose for flute, cello, percussion and electronics (2021), 6 mn
    • elec kora for bass clarinet, baritone saxophone, string trio, percussion and piano/sampler/electronics (2022-2021), 16 mn
    • elec nakraj sela for bass clarinet, cello, accordion, percussion and two keyboard samplers (2023), 14 mn 30 s
    • SOVA for flute, clarinet, violin, cello and piano (2023), 16 mn
  • Instrumental ensemble music
  • Vocal music and instrument(s)
    • Lulluby for soprano, clarinet and piano (2014), 4 mn 30 s
    • Serbian Love Songs for soprano and string quartet (2016), 21 mn, BabelScores
    • Ultraterreno for soprano, mezzo-soprano and piano (2016), 15 mn 30 s
    • incidAnces monodramatic madrigals for soprano and three instruments (2017), 19 mn, BabelScores
    • Eurydice's Monologue version for soprano and ensemble (2018), 12 mn
    • Chant de Vélès for large choir and brass ensemble inspired by the Balkans (2019), 6 mn 30 s
    • De Rerum Natura cantata for soprano and orchestra (2019), 10 mn, BabelScores
    • psalm for voice, flexible ensemble and percussion (2023), 7 mn
    • elec ircam Stabat Mater for choir, viola da gamba and electronics (2023-2024), 21 mn, édition du compositeur [program note]
  • A cappella vocal music
  • Electronic music / fixed media / mechanical musical instruments
  • Unspecified instrumentation
    • The Blacklisted music for the documentary film by Sara Marković and Nikola Dragović (2019)

Documents

Liens Internet

(liens vérifiés en janvier 2024).

Bibliographie

  • Bojana RADOVANOVIĆ, « “The music is highly eclectic, and it should be approached accordingly”: Voice in Jug Marković’s compositions », in Muzikologija, Vol. 2023, no. 34, p. 111–131, à lire ici.