Isečci sa kraja veka. Muzičke kritike i (ne)kritičko mišljenje (1992-1996)

Daily music criticism, although necessarily viewed in the context of the cultural policy of the media where it is published, is nonetheless primarily an individual act on the part of the critic writing it, a sort of review of the moment and first impression of the event reviewed, while its daily 'expendability' may be transcended only by authors endowed with stylistic brilliance. The texts are arranged in the chronological order of publication; by a twist of fate, the opening and the closing review, with their titles and contents, effectively frame the book and provide it with dramaturgical support: the book begins with a text about Ivana Stefanović's music for Isidora, a ballet ("Autonomno muzičko zdanje" - An Autonomous Musical Edifice, 16 October 1992) and ends with a symbolically titled review, "I na kraju sarabanda" (And, at the End, a Sarabande"), of Mstislav Rostropovich's performance at Sava Centar on 22 October 1996. With her piercing musicological gaze (and view), the author strove to take apart Serbia's contemporary production in composition and performance, record the weaknesses and summits of Belgrade's musical scene at the time, the BEMUS festival, the International Review of Composers, the Days of Mokranjac festival, offering subtle, sometimes even minutely crafted insights, such as her texts about new pieces by I. Stefanović (И. СтефановиЬ), V Trajković (B. TpajKOBHh), and M. Mihajlović (M. MHxajflOBHh). The author's critical thinking rests on incorporating all the layers and dimensions of a musical work or performance act, as well as the institutional world of art.