Boris Kovac & La Campanella’s World After History

Bloomington (Indiana), USA – Boris Kovac’s latest CD, World
After History
(Piranha Musik), is now available. Regarding his musical
roots, Boris Kovac says : “Our advantage is that people from 20 different
nationalities live together in the Pannonian plains.
”The composer,
instrumentalist and multimedia artist from Novi Sad, capital of the multiethnic
region Vojvodina in the Pannonian plains of former Yugoslavia continues, “No
one can say which folklore my music stems from exactly. Me and my musicians,
living in an urban situation, have no contact with the little villages in the
country. We cannot retrace where the music comes from, anyway. It is not
necessary. The crucial point is to use the sources as nourishment for your own
.”Boris Kovac understands these things. Known as a legendary cross point for all
sorts of migrants from the Mediterranean to the Baltic, Pannonia is
characterized by the concurrence of Catholicism and Slavic Orthodoxy, and all of
their respective cultural characteristics. Kovac, born in 1955, began to draw
from these diverse heritages many decades ago, acquiring a spectrum of artistic
expression rarely heard. He writes music for his chamber groups; many of his
projects are connected with theatre. In 1982 he created the Ritual Nova
Ensemble, an ever-changing, flexible group of musicians as well as visual
artists, dancers and performers, acting as sole composer and director. Since
1989 he has been the leader of the Chamber Theatre of Music Ogledalo from Novi
Sad, Academy of Fine Skills, and “La Danza Apocalypsa Balcanica” with Ladaaba
orchestra, whose

Last Balkan Tango

Ballads at the End of Time
were also released on Piranha.

After living in Italy, Slovenia and Austria for several years, Boris Kovac
returned to Yugoslavia to participate in the cultural reconstruction of his home
country in numerous projects in the re-flourishing theatre scene. He shared his
artistic talents at more than 100 festivals of new music and contemporary
theater in several different countries. He reveals his Serbian, Hungarian, and
Romanian roots while simultaneously finding similarities with the darker side of
the “Rock in Opposition” movement (Art Zoyd / Univers Zero) of the 1960s and
’70s and with the Third Ear Band combined with the manifest influence of Béla
Bartók and Balkan folk music.

At this point in his career, Boris Kovac, like Bartok 70 years before, stands
out as a cultural hybrid between music traditions and the young contemporary
scene of Yugoslavia plus all the influences he picked up on the way; last but
not least by way of his musicians. The Balkans became far too narrow for the
open-minded lot of them, politically as well as musically. So they move on to
new horizons, this time preferably Mediterranean. Accordion, violin, bass, and
drums are played by Half-Serbians, Half-Hungarians and Half-Macedonians. Add to
that a guitar and clarinet and you get origins as diverse as their influences.


World After History