About the Cycle - C o m m e n t a r i e s
(1994) conjure up certainty
and uncertainty, possibility and impossibility, probability and improbability,
which is all offered by the world of our time (first performance: Bourges,
Cathedral, 20th November 1994, J. Magdić, organ).
OF SARAJEVO (1993),
a suite in ten movements, conjure up the fate of the war-stricken sights
of the city and various events in the city itself (first performance: Sarajevo,
Cathedral, 18th June 1994, J. Magdić, organ). Recorded on CD SONY SK 66619.
City Hall, i.e. National and University Library, used to be one of the most
beautiful buildings in the city, built in the Moorish style. It has been
completely burnt down and destroyed.
to be the liveliest centre of the old town, characterized by oriental influence
and traditional crafts. Nowadays it appears to be sombre and sad.
Ghazi Husrev-Bey's Mosque is
the most famous and monumental city mosque, built back in 1531. It has been
resisting the blows of war with difficulty, yet with pride.
in neo-gothic style in 1889, relentlessly evokes motives of the Gregorian chant Dies
National Museum, founded
in 1888 with botanical gardens and a necropolis of special sarcophagi called stečci,
has been brutally devastated.
along the front-line, evokes the horrible children's play and the near-by
first-aid hospital with constant grenades, snipers, artillery bursts and fires.
- Dobrinja represents
the newest town district, surrounded by the aggressor almost on all sides. It symbolizes superhuman resistence.
literally the aggressor's prison beside the airport; there are incarcerated
all those - Bosnians and other - who did not let themselves be subjugated.
- Eternel Fire
courage, hope and faith.
- UNPROFOR - Quodlibet with
split-up motives from folk songs represents a quodlibet indeed, i. e. the
naivety of the UNPROFOR that always declares: "We don't know who is
(1994) represents a subconscious vision of the condition in which the
inhabitants of the occupied city seem to be living in a huge waiting-room under
the open sky. It reflects upon the condition literally between life and death.
Harsh rustic motives frantically resist the forces of darkness and transform
themselves into a sublime vision in the end (first performance: Sarajevo,
Cathedral, 18th June 1994, J. Magdić, organ).
depicts the brutality of war, as well as fierce resistence, reflected in
the hard oustic folk music (first
performance: Sarajevo, Church of the Queen of the Rosary, 20th August 1992, J.
Magdić, organ). Recorded on the above-mentioned
According to music theory, there are nine intervals: "Ter
terni sunt modi" (H. Contractus), but this composition deals with multiple
meanings of its widened title - on the one hand, it consists of the so-called
simple intervals brought successively through
segments in various techniques, and on the other hand, it brings a
dodecaphonic series that is integrated in the conclusive fughetta (first
performance: Sarajevo, Cathedral, 18th June 1994, J. Magdić, organ).
is a composition with constant application of clusters, that either lie in the
extreme positions, or progress deductively or inductively evoking a clear
assocation with current events (first performance: Besancon, Cathedral, 27th
October 1994, J. Magdić, organ).
abounds in numerous simultaneous and consecutive motives of folk songs
and dances, and sporadically those from the Gregorian chant too, that emerge in
gloomy, playful, melancholy or enraptured moods (first performance: Besancon,
Cathedral, 27th October 1994, J. Magdić, organ).
composed in August 1995, immediately upon the brillant victory against
the aggressor. The composer interweaves in it contemporary compositional
procedures with appropiate musical motives and fragments of authentic, furious
expression (first performance: Ogulin, Church of the Holy Cross, 3rd September
1995, J. Magdić, organ).
music theme Jesus resurrected indeed out
of Croatian and Latin collection of melodies CITHARA
1701, was used for RESURRECTION
contrastive variations, the final one in the form of fughetta, follow the solemn
theme. This tonal composition was written in March 1994, and first performed at
the Easter Concert in Sarajevo Cathedral on April the 3rd 1994 (J. Magdić,
Contact professor Magdić for organ concert at: