The cycle of pieces Voyages is based on contemporary poets’ reading their own works. Voyage I is created from the voice of the American poet Ann Waldman. Voyages have been performed in several countries, including Germany, Scotland, Bulgaria, and the United Stated.

In Voyage I, I chose to highlight only certain sections of the poem. The piano is treated not as a solo instrument, but as an organic part of the sphere of sound. The synchronization of the piano and electroacoustic parts is accomplished in a simple, practical fashion. However, the overall impression of the combination of the piano and electroacoustic music is one of improvisatory freedom. Most of the sounds in electroacoustic part were derived from the poets’ voices using Max/MSP, and IRCAM AudioSculpt and OpenMusic software. ~ Vera Stanojevic

Voyage 1 (with Anne Waldman)

Emily Dickinson
#158

Dying! Dying  in the night!
Won’t somebody bring the light
So I can see which way to go
Into the Everlasting snow?


And “Jesus”! Where is Jesus gone?
They said that Jesus—always come—
Perhaps he doesn’t know the House—
This way, Jesus, Let him pass!

Somebody run to the great gate
And see if Dollie’s coming! Wait!
I hear her feet upon the stairs!
Death won’t hurt—now Dollie’s here!
___________________________________
Mari Opatz-Muni, mezzo-soprano,
Mary E.M. Harris, viola
Brad Caldwell, piano.
-------------------------------
Homàge a Emily was commissioned by Mary E.M. Harris, Professor of Viola at Miami University School of Music (Ohio) and principal violist of the ProMusica Chamber Orchestra of Columbus.

It was premiered in 2009.

I always try to achieve a sense of drama and narrative in my music, and I was inspired by the depth of expression of Emily Dickinson’s poems. The instrumentation is the same as Brahms’s songs, Opus 91, and I was moved to quote his music in this work. The first song is rather expressionistic, with suspenseful episodes that explore the colors of the ensemble and give a sense of frozen time. The second song is characterized by an outward harmonic simplicity that belies a finely woven shifting rhythmic structure. ~ V.S.

Hommage à Emily: Dying!

Emily Dickinson:
#11

My river runs to thee:
Blue sea, wilt welcome me?

My river waits reply.
Oh sea, look graciously!

I’ll fetch the brooks
From spotted nooks,—

Say, sea,
Take me!
------------------------------
Mari Opatz-Muni, mezzo-soprano,
Mary E.M. Harris, viola
Brad Caldwell, piano.
-------------------------------
Homàge a Emily was commissioned by Mary E.M. Harris, Professor of Viola at Miami University School of Music (Ohio) and principal violist of the ProMusica Chamber Orchestra of Columbus.

It was premiered in 2009.

I always try to achieve a sense of drama and narrative in my music, and I was inspired by the depth of expression of Emily Dickinson’s poems. The instrumentation is the same as Brahms’s songs, Opus 91, and I was moved to quote his music in this work. The first song is rather expressionistic, with suspenseful episodes that explore the colors of the ensemble and give a sense of frozen time. The second song is characterized by an outward harmonic simplicity that belies a finely woven shifting rhythmic structure. ~ V.S.

Hommage à Emily: Take Me!

Kubik-Musik (2019) is a second movement of a larger orchestra piece called Imagine This, commissioned and premiered by the Knox County Symphony.

Is it neoclassical? Is it minimalistic? Probably all and none of the above.

However, it's a music that’s catchy and flows, seemingly simple, but under the microscope reveals a contrapuntal structure and a filigree of motives that, like Lego cubes, can be moved and connected in different places, both vertically and horizontally.

Kubik - Musik

Triptych was premiered by the MIVOS Quartet on October 10. 2017 at the Wexner Center for the Arts in Columbus, Ohio.

The idea of a triptych as a concept of three parts, each of which represents a separate narrative and yet, together, make a unity, was attractive to me.
 
In the case of this string quartet, each part, or movement, depicts a psychological and circumstantial state of a person.
 
The first movement, In a Circle, represents a state of being surrounded and trapped. Thus confined, one often joins others in what could metaphorically be seen as a kind of a circular dance. The movement ends somewhat abruptly, with frustration and lack of resolution.
 
In a traditional triptych the central section carries the most significant meaning. In this piece it is the second movement, Reflection—an understanding of oneself. A mirror, not cold, but rather sympathetic, is placed in front of one’s soul. This reflection is a sounding image: echoes of harmonics and accumulations of chords that seem to be emphasized and filtered out by the mirror. Although this contemplation requires calmness, intruding waves of unsettledness turn out to be the catalyst that brings one closer to her/his Essence.
 
Breakthrough, the third part, grows naturally from the second. Fast repeated notes take on a life of their own and together with short accented notes, like arrows, pierce the constraints, breaking down the boundaries.

— Vera Stanojevic

Triptych (string quartet)

Beginning of composing a new piece is similar to starting a journey for which prepared maps and plans are not to be fully trusted. It is one of those trips where the best experiences are around unexpected corners and along unmarked roads.
Following a new path can turn out to be a mistake, or—a pleasant experience and a discovery.
Working on Elusive Paths, was just that—an adventuress musical journey. Allowing to be (more or less) led by the natural flow of ideas, not necessarily understanding the logic of their succession, presented a unique challenge.
Just like an architect, composer has to make sure that the result is a unified entity, however free the inner parts are. In case of Elusive Paths, it’s somewhat rhetorical nature and carefully controlled timing of tension building and release contribute to it’s unity.

Elusive Paths (Violin & Viola)

Dejan Gavric and Sakina Togashi, Flutes

Composed in 2018

Game Of Shadows (two Flutes)

Beyond, for flute and piano. 
Dejan Gavric, flute and Vera Stanojevic, piano

Beyond

Dance to the End of the Circle

Premiered in Royal Conservatoire of Scotland, Piano Festival, March 2013.

Sinae Lee, Graeme McNaught, Fali Pavri and Aaron Shorr - Pianos. 
Tom Wells - Conductor

The Droplets of Dew is inspired by the Matsuo Basho haiku:

I like to wash,
The dust of this world
In the droplets of dew.

The piece is written especially for this occasion and involves four concert grand pianos and fixed media (pre-recorded computer sound).

The sounds of water and resonances of the piano are the basic sound materials of the piece. I'm very grateful to my husband, Thomas Wells, who has amazing expertise in computer music and the knowledge of all kinds of useful sound-synthesis applications, for helping me realize some sound imagery--for example, the sound the piano strings set into vibration by a drop of water.

In general, I'm trying to achieve the beauty of the piece on a more intimate level-- concentrating on a palette of timbres, and in some ways disregarding the traditional expectations of and approaches to piano music and performance. Both the pianos and the computer sounds are treated as instruments of an imaginary orchestra.

Droplets of Dew

Like many composers, I want my music to speak to many. I desire to share my world of music with others and to have a power to touch, move and reach out to the listener. My ultimate goal is to communicate a meaning -- and I’m doing that not by “inventing” a language, but using one like a poet, attempting to enrich it from inside

I don’t believe in passing judgments about a value of the piece based on a preference for a language, which is often confused with style or originality.

I, however, find that music of my (Balkan) and other cultures and traditions continuously replenish, inspire and broaden my musical expression. I assimilate and filter through these influences in a very personal way, not imitating, or making a fad out of them.

~Vera Stanojevic

Vera Stanojević

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