From Belgrade to Brussels – two premieres in two days in October

Last month, I had the unusual privilege of attending two premieres of my compositions in two different European cities in two successive days. These were dream study sequence for guitar at the 35th International Review of Composers in Belgrade (the second time I’ve been featured at this festival), and Antiphon for alto flute and double bass at the Festival Osmose in Brussels (my third time at this one). Here’s a diary of my trip.

Saturday 10 October 2026 - arrival

Arriving in Belgrade, I unexpectedly learn some top tips about the Serbian national spirit, rakija, during my taxi ride from the airport (the best flavour is plum, according to the taxi driver).

Later, a balmy stroll from the hotel takes me to the Philharmonic Hall in central Studentski Trg to hear an evening of contemporary chamber music, ‘Virtual Realities’. The concert sounds and feels fresh, lively, well-attended – and it’s free to all! More surprisingly, public transport in Belgrade is free too.

Sunday 11 October - rehearsal

The weather today could hardly be more different. Summer has disappeared overnight. It’s wet and a lot cooler, though still humid. To Restaurant Sokoj for lunch, recommended by a Serbian colleague at Middlesex. SOKOJ is the copyright collecting society for Serbian composers (the equivalent of the UK’s PRS for Music) so I was surprised to hear there is a restaurant of the same name, but it’s situated in the rented basement of the building which houses the collecting society and also the Composers Association of Serbia, who have run the International Review of Composers since its inauguration in 1992. I like the idea that the cost of my (delicious) lunch will give something back to the local music industry.

In the afternoon, I have my rehearsal with classical guitarist Marija Rašić, who’ll give the world premiere of dream study sequence tomorrow. SOKOJ and the Composers’ Association have kindly offered a rehearsal space in another of their buildings, conveniently centrally located just round the corner from the parliament building.

The rehearsal is stimulating and inspiring. We work through the piece section by section, drawing connections with early music (Marija is also a lutenist) and rock music (dream study sequence can also be performed on electric guitar).

Experimenting with different slides to realise some tricky glissando passages, Marija hits on the use of a biro, which sounds best!

Two concerts in the evening: ‘Unknown Destiny,’ a rich mix of chamber music in the main SOKOJ building again, followed by a concert of electronic music, ‘Turbulence of Time’. Although the venue, Marsh Open Space, is right in the city centre and just off a touristy cobbled street of restaurants complete with serenading violinists and accordionists, it’s a fascinating alternative arts space which could have been in London’s Shoreditch,/p>

Monday 12 October – Premiere (#1)

The concert, titled ‘Within the Unbroken Line’, is in an intriguing and atmospheric venue, Radionica integracije, with connections to radio and the arts.

A black-box theatre space, partly ‘in the round’. It’s a series of instrumental solos, which for me at least, and especially in this space, have an inherently theatrical quality. The premiere is everything I’d hoped for – poised, shaped, with all the character and techniques vividly brought to life: dirty; clean; strong; and heartbreakingly lyrical.

It’s good to catch up with Tatyana, the artistic director of the festival, who I met last year. Though not without its challenges, in terms of funding and marketing (see this article on the subject), this progressive, inclusive festival deserves to be more widely appreciated.

Tuesday 13 October – Premiere (#2)

One premiere down, one to go! To Brussels with Swissair via Zurich. Duo Aelta (Renata Kambarova and Matthieu Garnavault) give the Belgian work premiere – and world version premiere – of my Antiphon for alto flute and double bass. It’s a magical, spellbinding performance.

Festival Osmose, the enterprising contemporary music festival of which the concert is part, is now under new management, following the retirement of its founder, the irrepressible Belgian composer Danielle Baas. It’s good to see it retain its character, including the use of the well-resourced Espace Toots (named after renowned Belgian jazz musician Toots Thielemans), itself part of the L’Entrela arts centre in Evere, a pleasant district in north-east Brussels.

,p>Other aspects include the international scope of the composers; the quality of the Belgian musicians; and the quirky Prix du Public audience popularity prize. I was lucky enough to win the latter a couple of years ago in 2024, for Isis Larrère’s performance of ‘Toccata’ from Concerto for Piano Solo. Long may the festival continue!

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