Milica Djordjevic

Djordjević grew up in the Serbian capital, Belgrade. As a young child she hoped to become a concert pianist or a painter.[2] She went to classical gymnasium and specialized music school, which she decided to enroll during the NATO bombing of Yugoslavia, when her refuge was not a bunker but playing the piano for virually endless hours of air raids.

During teenage years she seriously considered a career in physics, theatre or art. Both painting and physics are still an important part of composer's life: her first impulse for sound representation, i.e. the notation, is a drawing and physics is inextricably linked to music.[3]

Some of the examples of this very broad field of interest and inspiration are The Death of the Star-Knower – petrified echoes of an epitaph in a kicked crystal of time I&II from 2008/09 : Djordjević fantasized about the concept of time crystals and worked with this idea in her first two sting quartets The Death of the Star-Knower – petrified echoes of an epitaph in a kicked crystal of time I&II from 2008/09. The concept of time crystals only became known in physics a few years later and was theoretically proposed by Frank Wilczek in 2012 and in terms of practical application, time crystals could one day be used as quantum computer storage.

Čvor for winds, brass, percussion and piano is very, very intimate: she finished it in the neonatal intensive care unit (NICU).

Mit o Ptici for choir and orchestra has the most direct inspiration in literature - verse epos Bird by Miroslav Antić, whereas Jadarit, Concerto for Percussion and String Orchestra is politically engaged.

Djordjević graduated composition from the Faculty of Music in Belgrade, where she also finished studies of Sound and Music Recording and Production as well as specialized training in electronic music. She finished postgraduateat the Conservatoire de Strasbourg, where she studied with Ivan Fedele and graduated with honors. She continued her professional accomplishments in Paris, where she was enrolled in composition and computer music Cursus1 at IRCAM and then in Berlin, where she finished 3rd cycle studies at HfM Hanns Eisler in the class of Hanspeter Kyburz.

Djordjević's music is described as "rough, often even raw in the gesture", as a "vital tonal language that refuses less harmony and beautiful sound than that it gives the experience of the elemental quite pleasurably: tones of the earth’s emanations." [4]

The music of Milica Djordjević is contemporary in a manner that can be almost terrifying. Expressive vehemence lurks beneath its thin veneer. Raw, archetypal voices, recognizable from the sonic world of the Balkans, radically shape her subject-matter with the resources of the avant-garde, far removed from folk music. Heavily rhythmic and almost physical in its presence, the atmosphere erupts with searing rigour like a grandiose and purifying thunderstorm. Her music is at once alien and familiar - alien in that it releases darkness, fear, things hidden and suppressed; familiar in that it brings these things to an explosion and causes their splinters to glisten. It has nothing to prettify, but much to say.[9]

Djordjević's works are present at major European festivals, concert series and radio stations and are performed by renowned performers, ensembles and orchestras such as Berliner Philharmoniker, Arditti Quartet, Bavarian Radio Symphony Orchestra, WDR Symphony Orchestra, SWR Symphony Orchestra, Munich Chamber Orchestra, Ensemble Musikfabrik, ensemble modern, Ensemble Recherche, JACK Quartet, Neue Vocalsolisten, Peter Rundel, Marco Blaauw, Ilan Volkov, Luca Pfaff, Teodoro Anzellotti, Enno Poppe, Alexander Liebreich, Peter Veale, Bas Wiegers, Clemens Schuldt, Sylvio Gualda, Francesco Dillon...