Ana Milosavljevic Interview
Posted on 08 October 2008. © Copyright 2004-2017 David Bruce
C:T talks to Serbian-American Violinist Ana Milosavljevic|
Tell us something about your background.
I was born and grew up in Serbia, former Yugoslavia. I have been living in New York for about 9-10 years.
Tell us about your forthcoming concert at the Times Center
On October 24 at 8:00 pm I will be performing a multimedia recital, which I am also producing myself. I will be performing six works by living women composers. The program is very exciting; it includes four world premieres by: Tania Leon, Aleksandra Vrebalov, Katarina Miljkovic and myself. Also on the program are works by Svjetlana Bukvich-Nichols and Eve Beglarian. I have a guest choreographer/modern dancer Takehiro Ueyama who will perform with me in my own work. Percussionist Alex Lipowski will perform with me the work by Tania Leon. Jason Jeunnette will be designing lighting for the concert. In this concert I am also featuring a special tribute to Serbian artists. All the composers will be present at the event.
You have only programmed piece by women in the concert. Do you think women write a different kind of music from men? If not, why make such a distinction?
In general, my big passion is the performance of contemporary repertoire, and collaboration with artists from different genres. Also, I often like to present living women composers on my programs. This program features women composers with different backgrounds, but several composers are native of Serbia.
I think that at the present time it is still important to create opportunities for women artists to express themselves and to be seen and heard.
Your concert also programs works by Serbian composers. Are there any recurring themes or ways of composing in new Serbian music that you have noticed?
There are no particular ways or patterns in compositions by Serbian composers. They are as different among themselves as other composers. That said, it is very exciting for me to feature them on my program and show their various styles and aspirations. Perhaps the most common thing in their composing is the usage of elements of Serbian traditional (ethno) or spiritual music-for those composers who decide to use them.
Do you commission new work yourself?
Yes, I do commission new work. In this program I have four world premieres (including my own work). The works by three other composers are written for me. Also, the piece by composer Svjetlana Bukvich-Nichols that I will also be performing in this concert is the piece I commissioned and premiered in New York in 2006. After that, I had an opportunity to premiere this work in Serbia, the Kennedy Center in Washington DC, Fullerton (California), and most recently in Beijing, China.
What interests you in a piece of new music? What turns you off?
I like to see the pieces written with lots of imagination and passion, no matter the style. I like to feel that people have something to say with their work even if it is expressing just a simple emotion or mood. I am also always very excited to collaborate with living composers and other artists, it is so inspiring and enriching.
What turns me off? Sometimes there are simply scores that I personally donít find very interesting. For me it is very important that I get inspired by the music I am performing, as well as by artists I collaborate with.
What are your plans for the future?
Continuing to perform and produce exciting concerts, and to collaborate with various artists. In recent years I got very interested in multimedia productions. I would also very much like to perform these new works in many other countries in the future. Also, I am currently in the process of recording my solo CD with works by living women composers. In addition, I am co-founder of Serbian Arts International, an organization that promotes Serbian arts and culture worldwide, so there are plans with that for the upcoming season as well.
How can people find out more about you?
People could find about me by visiting my website: http://www.ana-violin.com .
Interview by David Bruce © Copyright 2004-2017
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