LJUBICA MARIĆ
(1909 – 2003)
“Ljubica Marić has used en entire arsenal of contemporary music in order to achieve a high goal. She speaks from the depth of her soul with clear and impressive language…” – this is how Dmitry Shostakovich has characterized Ljubica Marić’s music. Her music and the originality of her expression were praised by numerous other great artists of 20th century, such as Bartok, Lutoslawski, Haba, Nicolas Slonimsky, Hermann Schrechen and Marius Flothuis. All of them have considered that Ljubica Marić’s compositions are among the greatest music creations of 20th century.
Born in Kragujevac (Serbia) on March 18th 1909, one of the greatest Serbian composers Ljubica Marić has traveled a huge artistic and intellectual journey in order to facilitate to Serbian music taking the place in European music heritage it deserves. She is the first in Serbia to get the diploma in composition in 1929. At the State Conservatory in Prague, she attended postgraduate studies under Josef Suk, and during studies, she received many praises on festivals in Amsterdam, Strasbourg and Prague. She was described as a genially gifted woman, and her music was promoted by the great supporter of contemporary music, Herman Scherchen. Her music was performed by the most important chamber ensembles and orchestras, and she was offered by Alois Haba a post of the associate professor at the Department for quartertone music at the Prague State Conservatory. Second World War has disrupted the continuation of her international career so she spent most of her life in Belgrade, living quietly and composing extraordinary works. She was also engaged in visual arts, wrote philosophical poetry, worked as a professor of Music Academy in Belgrade and a member of the Serbian Academy of Arts and Sciences.
Ljubica Marić is the first composer ever to use Byzantine church music in non-liturgical compositions. She has achieved a highly original synthesis of the medieval music and avant-garde experience of 20th century music in her work, thus creating pieces of moving philosophical lyricism. Her music has announced the beginning of postmodernism and minimalism, and she is regarded as a precursor of Arvo Pärt and John Tavener.
Towards the end of her life, Ljubica Marić’s music was again enthusiastically received in big European music centers of Netherlands, Germany and Great Britain. In Amsterdam was held a series of her music and a CD with her chamber music was published. Foundation KölnMusik commissioned her a new composition, publishing house Furore Verlag from Kassel publishes scores of all her compositions, and appears a CD with her most representative compositions for the label Chandos. Ljubica Marić is regarded as one of the most original creators from the second half of 20th century.
