Serbian–Swedish composer, born in Serbia in 1975; he has lived in Stockholm since 2000.
He studied violin and composition with Vlastimir Trajković at the Music Academy in Belgrade, and later at the Royal College of Music in Stockholm under Pär Lindgren, while also taking classes with Bent Sørensen, Magnus Lindberg and workshops with Esa-Pekka Salonen, James Dillon, Mario Davidovsky, and Michael Obst.
His musical style is characterised by fantasy narrative, virtuoso instrumentation, and a highly profiled sound. His early interest in folklore, Orthodox Church tradition, and Byzantine music has led him to develop a variety of compositional techniques such as polyrhythmics, improvisation, special scale-based harmony, microtones, “layer polyphony,” and heterophony. His “harmonic field” technique is now a topic of academic research at the University of Music and Performing Arts in Graz and is used in several of his works, including Le cimetière marin and The White Angel. He has composed a wide range of works including chamber, orchestral and vocal music, music for solo instruments, choral, and one short electroacoustic piece. His music is regularly performed across the world by the leading musicians and orchestras.
Živković is also a professional violinist and violist, performing new music, as well as improviser on the violin and piano. He has received many international scholarships and prizes for his work. He also works as a teacher of composition, music theory, aural training, violin, and chamber music. Although Živković considers himself primarily as composer, most of his compositions were composed during summer and winter holidays when he does not teach. Some of his key works have been composed in the Swedish countryside, in Gagnef.
Major works: Two Sad Songs for soprano, viola and piano (1997), Metaphysical Poem for violin and piano (1998), Fantasia for violin and wind orchestra (2001), Serenade for string orchestra (2002), Piano Trio (2002), Sophisticated Preludes for piano (2003), Les atmosphères illuminées for cello and orchestra (2004), Rhytmes, Cloches et Chanson rituelle for thee percussionists (2004), Éclat de larme for alto flute, oboe, accordion and piano (2005), The White Angel for chamber orchestra (2006), Fantasmagoria for horn and ensemble (2007), Around the Candle Lights for chamber orchestra (2007), Le cimetière marin for mezzo-soprano and chamber ensemble (2008), Fire-Taming for chamber ensemble (2009), Le cimetière marin II for viola and chamber ensemble (2009), I Shall Contemplate... for soprano and chamber ensemble (2011), On the Guarding of the Heart for chamber orchestra (2011), Unceasing Prayers for cello and orchestra (2011), Ascetic Discourse for chamber ensemble (2012), Psalm XIII for string quartet (2014), Night Music for chamber ensemble (2014), Ascetic Discourse II for piano, clarinet and strings (2014), White Angel II for symphony orchestra (2014).
