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Zivkovic Wins Grawemeyer Music Prize

“On the Guarding of the Heart,” a piece for chamber orchestra by Serbian-born composer Djuro Zivkovic (joo-ROH’ zhiv-KOH’-veetz), has won the 2014 University of Louisville Grawemeyer Award for Music Composition.

The 20-minute work “makes a huge emotional journey in a relatively short period of time, moving through many landscapes between the mysterious, moody opening and the ecstatic conclusion,” said award director Marc Satterwhite.

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“The composer also makes wonderful use of the colors of the 14-piece ensemble. The instruments are used in fascinating ways, both traditional and otherwise … that shape the sound of unnatural, echoing beauty,” he said.

Zivkovic, 38, describes the piece as an “instrumental cantata” inspired by the religious music of Bach. Its main theme is the need to return to oneself.

“It is about hard-achieved detachment, stillness and watchfulness, it’s about solitude and exile,” the composer said.

Born in Belgrade in 1975, Zivkovic has lived in Stockholm, Sweden, since 2000. He is active as a violinist and violist—with a special interest in improvisation—and teaches at the Royal College of Music in Stockholm.

Austrian ensemble Klangforum Wien gave the first performance of “On the Guarding of the Heart” in November 2011 in Belgrade. The piece also has been performed in Vienna and Bergen.

Zivkovic’s music has been commissioned, performed, recorded and broadcast across Europe and North America by ensembles such as Sonanza, Klangforum Wien, Trio Fibonacci, Musica Vitae Chamber Orchestra, BIT20 and Stockholm Symphonic Wind Orchestra and people such as conductors Emilio Pomarico and Baldur Brönnimann and Swedish contralto Anna Larsson.

He received a Swedish Grammy Award 2010 (Grammis) with Sonanza for his piece “Le Cimetière Marin” for mezzo-soprano and ensemble.

Influenced at an early age by folklore and Byzantine music, he has developed a wide range of composing techniques such as polyrhythms, improvisation, harmony-based scales and microtones. Over the past decade, he has become particularly interested in harmonic organization, an area he has identified as crucial in modern compositions.

UofL presents four Grawemeyer Awards each year for outstanding works in music composition, world order, psychology and education. The university and Louisville Presbyterian Theological Seminary jointly give a fifth award in religion. This year’s awards are $100,000 each.

For more details on the awards or to download Zivkovic’s photo, see grawemeyer.org

From University of Louisville


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Djordje Stijepovic

Djordje Stijepovic (Serbian: Ђорђе Стијеповић, Đorđe Stijepović, pronounced [d͜ʑô̞ːrd͜ʑe̞ stijě̞ːpo̞ʋit͜ɕ]) is a Serbian-American double bass player, singer and composer. He is best known as bassist for the psychobilly band Tiger Army and for Nickelodeon star Drake Bell. He is also a former member of Lemmy Kilmister's (Motörhead) side project The Head Cat (with Stray Cats' Slim Jim Phantom on drums).

As a bandleader, Stijepovic fronts the rockabilly band Atomic Sunset and performs as a solo artist under his own name. He has also recorded and performed as a guest musician with Tommy Emmanuel, Marco Beltrami, Wanda Jackson, Molotov, Rachel Brice and Beats Antique among others.

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Jesus Christ Is The Same Yesterday Today And Unto the Ages

In this latest and, in every respect, meaningful study, Bishop Athanasius, in the manner of the Holy Fathers, and firmly relying upon the Apostles John and Paul, argues that the Old Testament name of God, “YHWH,” a revealed to Moses at Sinai, was translated by both Apostles (both being Hebrews) into the language of the New Testament in a completely original and articulate manner.  In this sense, they do not follow the Septuagint, in which the name, “YHWH,” appears together with the phrase “the one who is”, a word which is, in a certain sense, a philosophical-ontological translation (that term would undoubtedly become significant for the conversion of the Greeks in the Gospels).  The two Apostles, rather, translate this in a providential, historical-eschatological, i.e. in a specifically Christological sense.  Thus, John carries the word “YHWH” over with “the One Who Is, Who was and Who is to Come” (Rev. 1:8 & 22…), while for Paul “Jesus Christ is the Same Yesterday, Today and Unto the Ages” (Heb. 13:8).