Boris Kovač’s repertoire of Chamber Music includes selected works as a retrospective of his ca-reer so far, as well as material from his forthcoming album “Catalogue of Memories” (recorded in 2010) and some unreleased songs.
This orchestra is called NEW RITUAL GROUP and it is composed by 6 elements. The voice, wisely chosen, that embodies in the most com-plete way and adds stimulating spices to Kovač’s compositions is Svetlana Spajić’s one.
Boris Kovač started to explore deeper the Chamber Music’s field in1991/92 during the war in former Yugoslavia. It was his personal inner “response” to the challenge created by the situa-tion: a fictitious ecumenical liturgy vis-à-vis the bloody con-flict amongst the Catholic, Orthodox and Muslim populations. These compositions gave voice to his personal resistance against the op-pression and the madness of nationalistic hysteria.
Multistylism is the right word to describe New Ritual Group’s performance. The music reflects a thorough knowledge of the Euro-pean chamber music tradition; on the one hand it could (condition-ally) be categorized among lyrical sentiments of traditional sound worlds (not only of Pannonian ethnic music but also of a “plane-tary human spirit”) and sacred ritual sound festivities, and, on the other hand, it adopted some experiences of jazz, avant-garde rock and improvised music.
This is still music of an intellectual trying to speak in non verbal terms, of a grown man reaching to his inner child but also to his inner female but has grown even more subtle in the mean-time. The fine alto of Svetlana Spajić gently flows over Siniša Mazalica’s double bass or Kovač’s saxophones though phrases and narratives sometimes almost naïve in their beauty, only to grow conscious of their own fragility in the following moment, con-scious of their illogical existence in the world where simple liv-ing demands healthy doses of spite and struggle.
The combination of chamber music compositions and works from the “Balkan Tango trilogy”, performed by these excellent musicians suits fine in classical venues as well as in theatres and festi-vals of both chamber, jazz and avant-garde music.