Dino Residbegovic

Dino Residbegovic born 1975 in Sarajevo (Bosnia and Herzegovina),^[1] is a modern classical composer

Dr. Dino Residbegovic was born in Sarajevo (Bosnia and Herzegovina) in 1975 and received his musical training on piano at the elementary and secondary music school there. After moving to Vienna in 1994, he studied music composition (gradual and master programme), at the Universität für Musik und Darstellende Kunst in Wien (University of Music and Performing Arts, Vienna) and at the Konservatorium Wien (Privat Univarsität der Stadt Wien) - Musik und Kunst Privatuniversität der Stadt Wien, with professors Heinz Karl Gruber, MA de:Wolfgang Liebhart and PhD. de:Rainer Bischof and graduated with the best score. He studied piano with prof. Kim Oak Hyun at Konservatorium Wien and also graduated in 2003. He continued postgraduate^[2] (post master)^[3] study of composition at the Universität für Musik und Darstellende Kunst in Wien with professor de:Detlev Müller-Siemens and graduated with the best score in 2005. At the same institution, he also studied conducting with prof. Uroš Lajovic.^[1]

He completed his Doctor of Musical Arts degree in musical composition (DMA) at Sarajevo Music Academy with Dr. Igor Karaca, composition^[4] (Oklahoma State University–Stillwater, United States) ^[5] and dissertation under mentorship of Dr. Ivan Čavlović.^[6]

He was also taking classes with Claus Ganter^[7] and workshops with Luca Lombardi and Stefan Fricke.^[8]

Great composer and pianist de:Jürg Wyttenbach, conducted Residbegovic's composition "The impact of analog synthesizer" for ensemble in Sarajevo, 2015.^[9][10]

He won many awards at composition competitions such as: two times Alban Berg Stiftung^[11] (Alban Berg Society), two times Siemens AG Österreich prize and Theodor Körner Prize in 2003.^[12]

Since 2006 he worked as the assistant professor and since 2012 he works as the associate professor at the Sarajevo Music Academy^[13](University of Sarajevo), Department of the composition. He is a permanent member of the Austrian Composers Society (ÖKB).^[14]

Residbegovic is currently mostly focused on electronic music and works with synthesizers^[15] such as equal instruments in contemporary classical music, through developing his compositional style to composition of sounds inside his own RMC (reductional music complexity) theory. He is also active in composition and performance pedagogy of his music, with developing of new movements in music education programmes, with assistance of his team of internationally active musicians such as Omer Blentic ,^[16] Dragan Opancic,^[17] Ivan Saric,^[18] Hanan Hadzajlic,^[19] Davor Maraus,^[20] Gilles Grimaître^[21] and many others.

His works performed conductor such as: Obrad Nedeljković,^[22] Dario Vučić,^[23] Josip Nalis,^[24] Jaime Wolfson,^[25] Emir Mejremić^[26] and Samra Gulamović.^[27]

Residbegovic's "Three orchestral miniatures" are part of regular repertoire of the maestro Aziz Sadikovic.^[28][29]

Also his works were performed by many orchestras/ensembles such as Sarajevo Philharmonic Orchestra, Belgrade String Orchestra "Dušan Skovran",^[30] Pons Artis Ensemble,^[31] Austrian Art Ensemble,^[32] Sonemus,^[33] Trio Magis,^[34] Platypus^[35] in Italy, Croatia, Slovenia, Serbia, Germany, Japan, Bosnia and Herzegovina, Switzerland,^[36] Austria, USA.

Third movement from his "Piano Concerto" was used as a soundtrack in the movie "Cameraperson" (2016) by Kirsten Johnson.^[37]

After his music was awarded with many standing ovations in halls such as Musikverein (Vienna),^[38] Carnegie Hall^[39] (New York City), Sarajevo National Theatre (Sarajevo), performed in several European countries, Switzerland, USA, Japan and awarded at many international composition competitions, he influenced many young composers, performers and musical critics to explore the new context of contemporary music he presented to the audience.

Dino Residbegovic is former of new wave of 21st-century classical music, known as Reductional music complexity, term dating from the 2003, which principally describes Rešidbegović's style through which he initiated new wave in composition and perception of music, based on new order of parameters and their categorization by composer himself. Second description of his style would be "rhythmical music" which came from his categorizations of rhythm, or corpse of the music. Inspired by musicians such as John Cage, Mauricio Kagel, Karlheinz Stockhausen, Hans-Joachim Hespos and his professors dr. Rainer Bischof and Detlev Müller-Siemens, he started to write music without tone pitches and established many compositional techniques of "reductional complexity". Musical parameters such as rhythm, dynamics, his own expression marks and description, extended innovative techniques of many instruments are base of his music, usually written with graphic notation and they are "recipe" for performer who starts to be performer and composer while playing Residbegovic's music. Performer is trapped inside of many rules of "pitch improvisation" such as forbidden sequences, repeating of any tonal model, or use of any diatonic model, but also he is free in his musical speech, but influenced by his musical associations, experience, knowledge and own ideas. That "real time composition" inside of the model or form opens new philosophy of music and also sense of being real musician, through one of the most important element in interpretation of his music - performers own tone aesthetic.

Residbegovic developed many instrumental techniques, but the most important and innovative in music of the 21st century are definitely his piano extended techniques and treatment of piano strings and resonator of the instrument such as use of synthesizer in contemporary classical music.

Residbegovic also performs his live electronic experimental contemporary compositions on analog modular synthesizers. He determinated his notation for electronic and acoustic instruments in his dissertation, "Subtractive synthesis in composition" as "Approximative Reductional Graphical Notation".^[40]

References

Other sources