Jug K. Marković (1987) is a Serbian, Belgrade based composer and pianist whose music was performed in Serbia, Italy, Belgium, France, Germany, Usa etc. including some of the most renowned festivals in Europe such as Donaueschingen Musiktage (Germany) and Festival d’Aix-en-Provence (France). He was educated at the Faculty of Music in Belrade (with Vlastimir Trajković and Zoran Erić) and attended masterclasses with important composers such as Georges Aperghis, Raphael Cendo, Oliver Schneller, Fabien Levy and John Corigliano. For his piece “Magistralen” he was awarded Busan Maru Composition award (South Korea) and Josip Slavenski award (Serbia). Jug believes in non-cerebral, passion driven music making.
LISTEN: Ultraterreno (for two female voices and piano)
Soprano – Inês Simões
Mezzo-soprano – Héloïse Mas
Piano – Marwan Dafir
Ultraterreno (for two female voices and piano) is a piece that deals with some important questions in the coming of age of a young artist. On one hand love for creation, endurance, inspiration and self esteem and on the other hand doubt, frustration, rejection and mechanization and industrialization of art. Even if it does not say so in the title, I like to think of this composition as a “dramaturgical madrigal”. It deals with problematic and thoughts I personally have been engaging. It consist of five texts from several different epochs which all in a certain way tell about abovementioned things from completely different contexts, with different sensibilities and in three different languages (Italian, German and Russian). Sonnets by Tasso (1544 – 1595) and Michelangelo (1475 – 1564), as well as the poetry of Russian poet Marina Tsvetaeva (1892 – 1941) deal with the concept of the power of the free spirited and gifted soul. In contrary to that, narrated short story of Austrian writer Thomas Berhard (1931 – 1989) tells of rejection and alienation. The last text that I have incorporated is an e-mail I personally got a few years ago as a refusal note for an entrance exam at one Faculty I applied to. The e-mail is the red thread of a piece and a certain counterpoint to all other texts since it recurs several times and intercepts the pacing of a seemingly logical course of actions.
Musically speaking the composition is very eclectic and highly dependent on the lyrics. It changes very abruptly depending on the text that is being sung in a specific moment. It also refers to role models from history of music, juggles with genres and compositional techniques and pays respect and homage to important figures in shaping of my own musical language, Monteverdi, Schoenberg, Berg…
Ultraterreno uses recontextualisation of both musical compositional techniques and literary sources as a main tool of shaping.
Last but not the least, I would like to stress that the process of writing this piece was highly intuitive. The final dramaturgical form is something that was derived spontaneously during a search process for a desired sound. I have acted with no definite premeditated forethoughts and my compositional choices were passion driven and impulsive.