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Jug Marković holds a master’s degree in composition and orchestration from the Faculty of Music in Belgrade and a degree in archaeology from the Faculty of Philosophy. Over the course of his studies, he attended masterclasses by composers such as Enno Poppe, Georges Aperghis, Mark Andre, Fabien Levy, Raphaël Cendo, and Jorge Sánchez-Chiong. During his residency at Snape Maltings in 2017, he was mentored by the composer Michael Finnissy. He also completed another residency at the Calouste Gulbenkian Foundation in Portugal as part of the European Network of Opera Academies. In 2020-2021, he joined IRCAM’s Cursus program on composition and computer music.
Marković has also participated in numerous composition workshops such as the Académie Voix Nouvelles in Royaumont (2019), Time of Music (2019), reMusik.org Composition Course (2019), International Divertimento Ensemble Academy (2018), Impuls Academy for Contemporary Music in Graz (2017), Darmstadt Summer Course (2014), IRCAM’s ManiFeste (2017, 2018, and 2019), TENSO Young Composers Workshop (2017), Britten Pears Young Artists Programme (2017), and Donaueschingen Musiktage (2014).
His works have been played by the Ensemble Intercontemporain, Divertimento Ensemble, Mivos Quartet, Quatuor Diotima, Latvian Radio Choir, Chamber Choir Ireland, Gulbenkian Orchestra, Brussels Philharmonic, and RTS Symphony Orchestra, and at festivals such as ManiFeste, Donaueschinger Musiktage, Time of Music, Festival d’Aix-en-Provence, and New Music Dublin, among others.
Marković strives to compose intuitively and impulsively. Into each piece, he invests energy drawn from historically charged gestures, or mannerisms of the past. Through this “sound archaeology,” he seeks to detach these gestures or mannerisms from their original connotations. For example, he might incorporate academic singing techniques into something resembling popular electronic music or, on the contrary, he might take a pop approach to a voice that might be associated with contemporary composition, thus breaking down familiar structures and the listeners’ expectations. By first allowing himself to be overwhelmed by the sound object, Marković reshapes it into a subjective reinterpretation. He tries to free himself from strict and rigid premeditated concepts and systems, and states that he does not put any extra-musical intention into his works. His eclectic stylistic inspirations are incorporated into intense sound worlds with dense textures.
His piece Vokativ (2016) for orchestra was chosen by the International Music Council as a “recommended piece” for the 65th International Rostrum for Composers.
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