photo by T.R.Beery

Nebojsa S. Macura was born in 1982 in Belgrade, Serbia, and immigrated to the United States in 1990. He holds degrees from the University of Cincinnati College-Conservatory of Music (DMA), University of British Columbia (MM), and University of Wisconsin-Madison (BM). His composition teachers include Joel Hoffman, Ellen Harrison, Stephen Chatman, Dorothy Chang, Stephen Dembski, Laura Schwendinger, and Scott Gendel.

Ensembles that have performed Dr. Macura's compositions include the University of South Carolina Symphonic Winds, CCM Chamber Players, California State University-Bakersfield Concert Band, Quad City Wind Ensemble, Xavier University Symphonic Winds, University of Iowa Chamber Orchestra, and Turning Point Ensemble. His music has been featured at the SCI National Conference, Sonic Boom Festival, Midwest Composers Symposium, CBDNA Southern Division Conference, Midwest Graduate Music Consortium, New Dischord Festival, and MusicX. In addition, he has participated in workshops by the Vancouver Symphony Orchestra, Standing Wave Ensemble, and Borealis String Quartet.

contact: nebmac(at)gmail.com

Recent and Upcoming Performances

October 8, 2014 7:30pm
Echoes of Rascia
Colorado State University Wind Symphony
Rebecca Phillips, conductor
Griffin Concert Hall
Fort Collins, CO

August 27, 2014 8:00pm
and
August 29, 2014 8:00pm
Six-Year Interlude
Cuatro Puntos
SESC Prainha
Florianópolis, Brazil

August 22, 2014 7:30pm
Six-Year Interlude
Mary Matthews, flute
Kevin Bishop, viola
Joshua Horsch, piano
Bach Haus
Cochabamba, Bolivia

August 15, 2014 7:30pm
Six-Year Interlude
Mary Matthews, flute
Kevin Bishop, viola
Joshua Horsch, piano
Casa de la Cultura
Tarija, Bolivia

July 17, 2014 7:30pm
Tempest Chochek
Timothy Northcut, solo tuba
Denver Municipal Band
Rafael Mendez Brass Institute
Gates Concert Hall
University of Denver
Denver, CO

May 23, 2014 7:30pm
Six-Year Interlude
Mary Matthews, solo flute
Steve Larson, solo viola
Annie Trépanier and Aaron Packard, violins
Kevin Bishop, viola
Pablo Issa Skaric, cello
Holly Bishop, bass
Cuatro Puntos Summer Send-Off Concert
Lutheran Church of St. Mark (75 Griswold St.)
Glastonbury, CT

April 30, 2014 7:30pm
Tableaux d'hiver
CCSU Wind Ensemble
Lauren Heller, conductor
Welte Auditorium
Central Connecticut State University
New Britain, CT

April 18, 2014 8:30pm
Rondo Alla Balcanica
Heather Shelton, Eb clarinet
Damien Hicks, tenor saxophone
Margaret Comstock Concert Hall
University of Louisville
Louisville, KY

April 6, 2014 4:00pm
Six-Year Interlude
Mary Matthews, solo flute
Steve Larson, solo viola
Annie Trépanier and Aaron Packard, violins
Kevin Bishop, viola
Pablo Issa Skaric, cello
Holly Bishop, bass
Music in Chelsea concert series
St. Peter's Church (346 West 20th Street)
New York, NY

February 14, 2014 7:30pm
Summer Night
Nazareth College Wind Symphony
Jared Chase, conductor
Linehan Chapel
Nazareth College
Rochester, NY

February 7, 2014 8:00pm
Chochek Rhapsody
University of Victoria Wind Ensemble
Eugene Dowling, conductor
Farquhar Auditorium
University of Victoria
Victoria, BC (Canada)

Selected Works

[see "Compositions" below for audio and score samples]

more audio samples available here

Tempest Chochek (2014) 5'
solo tuba, wind ensemble
composed for Timothy Northcut, Associate Professor of Tuba, University of Cincinnati College-Conservatory of Music

Tableaux d'hiver (2013) 11'
wind ensemble
commissioned by the 2013-2014
Central Connecticut State University Wind Ensemble,
Lauren Heller, conductor


Rondo Alla Balcanica (2013) 7'
version 1: flute, alto saxophone
version 2: Eb clarinet, tenor saxophone
composed for the Awea Duo

Family Letters (2012) 9'
horn, violin

In the Early Dawn (2012) 1'
oud
composed for Marina Toshich and
the Fifteen Minutes of Fame project


Summer Night (2012) 8'
wind ensemble

Two-Headed Oro (2012) 1'
clarinet
composed for Bruce Curlette and
the Fifteen Minutes of Fame project


Scampering Creatures (2011) 1'
violin, cello

Diptych (2011) 6'
flute, oboe, clarinet

Six-Year Interlude (2011) 8'
**Winner, Cuatro Puntos Award, Zvi Zeitlin Memorial International Composer's Competition**
version 1: flute, viola, harp (or piano)
version 2: flute, alto flute, bass flute, piano
version 3: flute, solo viola, string quintet

Concerto for Piano and Wind Ensemble (2011) 27'
piano, wind ensemble

Chochek Rhapsody (2010) 9'
concert band
commissioned by the 2010-2011
Xavier University Symphonic Wind Ensemble,
Matthew Westgate, conductor


Colours of the Earth (2010) 10'
chamber ensemble
[1+AFl-1+EH-1+BsCl-1+Cbsn, 1-1-1-0, str.bass]

Mind States (2010) 15'
trombone, piano
commissioned by Timothy Anderson,
Assistant Professor of Trombone,
University of Cincinnati College-Conservatory of Music


Music for a Serbian Celebration (2010) 6'
trumpet, string quartet, piano four hands
commissioned by Dr. Srdjan Babovic and
Dr. Dusica Babovic-Vuksanovic


Fanfare for Violas (2009) 4'
4 violas (or multiples)

Mr. Ravenscroft's Haunting (2009) 4'
fixed-format electronics

Scenes From the Old Country (2009) 11'
percussion quartet

Second Nocturne (2009) 4'
clarinet, piano

Swan Song (2009) 3'
high version: oboe or soprano saxophone
low version: bassoon or bass clarinet

Vanished City (2009) 7'
piano

What Is Yet Unfound (2009) 3'
horn

Canzoni di Primavera (2008) 7'
2 violins, piano four hands

Chamber Music No. 5 - Insomniac Dreams (2008) 9'
bass clarinet, cello

Echoes of Rascia (2008) 10'
wind ensemble or concert band
**Finalist, 2nd International Frank Ticheli Composition Contest**

September Fanfare (2008) 2'
brass ensemble

Fierce Desire for Love's Delight (2007) 7'
English horn, fixed-format electronics

For the Impossible Dream (2007) 8'
viola, piano

Sprawl-Dystopia (2007) 10'
orchestra
[2(Picc)-2(EH)-2(BsCl)-2(Cbsn), 4-2-3-1, Timp+2 Perc, Strings]

Reflections on Solitude (2005) 7'
flute, oboe, clarinet, trumpet, trombone, piano, 1 perc., cello, double bass
**Honorable Mention, 2008 Phi Mu Alpha Sinfonia Student Composition Contest, University of Cincinnati**

Compositions

Echoes of Rascia


PDF score

“Rascia” is the Latin name for Raška, a medieval state in southeastern Europe populated by the Serbian people, and a predecessor to the modern-day Republic of Serbia. While the rich history of its liturgical chant is well documented, little is known about other types of Serbian music from the Middle Ages.

Echoes of Rascia draws upon the musical traditions, both real and imagined, of this bygone era. Except for a quote from a Serbian Orthodox (Christian) hymn, first played by the flugelhorn at the beginning of the piece, all the thematic material is original.

This work is dedicated to Rodney Winther, Professor Emeritus at the University of Cincinnati College-Conservatory of Music, in gratitude for his guidance and support.


Six-Year Interlude


PDF score

In 2011, I was unexpectedly reunited with someone who was (and still is) very dear to me. Although we had promised to keep in touch after graduating from university in 2005, life got in the way until a chance encounter at our alma mater brought us back together. This composition is my reaction to that event and its impact on my life.


Chochek Rhapsody


PDF score

In several countries of southeastern Europe, the term chochek refers to a type of folk dance, as well as the associated musical genre, both of which developed under the rule of the Ottoman Empire. Characterized by syncopated rhythms and energetic melodies, the music is traditionally performed by an ensemble of brass instruments and drums, sometimes also including clarinets or saxophones.

While this musical heritage was the main source of inspiration, the creation of Chochek Rhapsody was also shaped by the study of wind music from the “classical” tradition of North America and western Europe, particularly the rich variety of tone colors found in the wind band.

Chochek Rhapsody was commissioned by the 2010-11 Xavier University Symphonic Wind Ensemble, Matthew Westgate, conductor.


Second Nocturne


PDF score

In 2002, shortly before changing my undergraduate major from meteorology to music composition, I wrote a Nocturne for clarinet and piano. While not entirely ineffectual, the piece was constrained by my younger self’s deficiencies in technical skill and limited aesthetic outlook. The Second Nocturne, composed seven years later, is intended as a more mature response to that earlier piece.