Compositions never come to me as gifts: Four composers’ perspectives
What “touches” them and what “trips them up”? What motivated and guided them in writing their pieces, and what turned out to be the most challenging?
Four Croatian composers share with us their process of putting the theme of Broken Relationships into action.
Lovro Stipčević
I am fascinated by the power of music and the different effects it has on people. I am motivated by the thought that my music could reach someone in this way. Exploring and delving into the
spectrum of tonal colours, as well as creating contrasting textures is at the heart of my artistic interests. The piece Kaamos [Polar Night] abounds in oscillations and transitions between lyrical and
vehement, tender and gloomy sonic textures. I tried to connect the initial theme with my stay in Finland, which in a way represented an interruption of light. In the midst of winter, when darkness prevails, we often retreat inside, the recess of ourselves, into quiescence.
The idea of the composition was to embrace this darkness, or more aptly put, to show the turbulence of calm. In terms of music, one of the biggest challenges in writing for MBZ 33 was certainly the component of live electronics. This is a piece for ensemble and live electronics, in which the electronics section focuses on exploring various audio manipulations using instruments. Lovro’s composition
Kaamos will be performed by defunensemble at the concert Resonances of the North.
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Ivan Božičević
The Biennale chose the theme of Broken Relationships – and gave us the freedom to interpret it in our own way. I hope I have managed to achieve this, yet, I seem to be one of those creatives who
like to have unbound, absolute freedom in choosing their inspiration. I was very positively motivated by the fact that the commission included the organ, an instrument very dear to me, which
I have been working with intensively for the past couple of years, while the use of voice and electronics provided an additional creative impetus.
Ivan’s composition Everlasting Voices will be performed by organist Katarina Lamotte and soprano Marija Lešaja at the concert Organum Vocale.
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Marko-Juraj Žerovnik
Creating my pieces always requires at least two things – two extremes that produce a conflict, two ideas vying with each other, or two thoughts that do not trust each other. These two elements then
mingle, compete and merge in diverse ways, depending on their nature, sonority or temporality. The elements blend like black tea with a splash of milk, forming, in this very fast-paced process,
incredible shapes that immediately yield a new stable mixture. Sometimes these elements can also behave like oil and water, seemingly mixing, but still separating in the end.
I draw my concepts and inspiration from the world around me: either from laws of nature or popular culture. An amalgam of these two poles produces an endless variety of amazing combinations, and each of my compositions represents an impression of this process. The writing process starts with setting up the principal coordinates, which is also the most challenging part. After that, creating
music takes on a life of its own and happens quite quickly and smoothly. However, compositions never come to me as gifts – I always wrestle with them or for them, and every one is a small battle
won. How much I stumble or buoy myself up on this path often depends on other circumstances. Writing Coalescence, I battled with myself a lot. For me, it is almost a therapeutic experience –
finding a way out of a dark tunnel and reaching the light at the end.
Marko-Juraj’s piece Coalescence will be performed by the Cantus Ensemble at the concert Meanderings.
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Sonja Mutić
My compositional process is often gradual and slow, unfolding step by step. Each phase depends on the next; they shape and influence one another in unexpected ways. It is also chaotic—sometimes it stalls and becomes frustrating and painful. In those moments, I have to refresh my body and mind through shifts in activity, thought, and content to move forward. At other times, sudden bursts of ideas demand my full attention. I follow that current, even if it means sacrificing sleep, food, or the daily rhythm of life.
It usually starts with a fascination—a sound that captivates me. My focus then dives into it: excavating its layers, staring into it, flipping it like a broken piece of glass catching light.
I need to imagine sound in space. From day one, my mind has wandered the hall of Tvornica Kulture in Zagreb—observing, estimating, analyzing… feeling it.
In this piece, I delve into the sound of the bass clarinet, expanding it in all directions through instrumental textures and electronics. The outcome often surprises me—it’s a journey with an unforeseeable destination.
Sonja's piece spektrum. spektra will be performed by Hong Kong New Music Ensemble, Vertixe Sonora and cellist Vid Veljak at the concert Worlds Connect.
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The cover image of the article is taken from the sound reel of composer Sonja Mutić.