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Hi! I am really curious which composition you have composed are considered to be your finest achievements. It is your opinion, public opinion, critical comments, anything. This is the list of my favourite compositions I have composed. I will mention five of them in every ensemble cast. ORCHESTRAL: Symphony no. 2 - My personal favourite, it makes me feel comfortable in composing long works. :) Concerto for violin and orchestra - It's the website's favourite too, it's already exposed on "Major works" section. Thanks! :D Contrasts in colour - early orchestral achievement (from 2003), I really started to feel comfortable in orchestral media with this one. Concerto for flute and orchestra - I enjoyed composing it very much. Not so virtuoso, but more melodic. Concerto for cello and orchestra - while it is fine in expressive and concertante matter, I have mentioned my dissatisfaction with formal approach several times. :) CHAMBER: Yearning for flute quartet - although composed back in 2004, I still consider it as one of my best works ever. I was really lucky to find a perfect combination of formal and expressive approach in it. And it became pretty popular all over the world. :D Pictures for saxophone quartet and two percussionists - one of my better recent chamber compositions. It is pretty bold in usage of modern techniques, specific tonal colouring and complex rhythms. Sonata for cello and piano - The critics in newspapers hate it, but I love it. Fortunatelly, several cellists love it too. :) One of my solid attempts to write a Sonata work in present tonal language. The Angel of Love for seven instruments - simply beautiful, that's all I can say. I also love the ensemble combination (flute, clarinet, trombone, percussion, piano, viola and cello) Divertimento Grazioso for violin, cello and piano - it is my breakthrough composition (written in early 1998) so even if I don't really take it as one of my best, I like it because of good memories. :) CHORAL: Mir vam zapustim (Peace unto you) - I just love it, that's all. Silence for choir and piccolo - A nice attempt to expand choral sound with other sonic expressions, rather than just singing. Popotnik (The Traveller) - I especially like the text of this poem which I set music on. So positive and universal. Imam ti nešto reći (There is something I need to tell you) - My first composition for which I won international prize for choral composition competition. But the composition itself is not one of my favourites though. :) Ave Maria - yet to be performed, but I enjoyed using a very simple musical language inside more modern expression. That's it so far. It's your turn! :) Yours Crt Sojar Voglar

well I don't have as much as you but... Orchestral The Polyphasetic Colleection Op.20 (is a long long large work for full orchestra) Maseuayotl Op.31 Ecos del Tropico op.33 (this one was an achievement because I could manage to take those latin styles into a symphonic level, never done before I guess) Survivor Op.36 (this one I guess for the speed, I could write this work kinda fast and without very much planing) Electronic: I will hold to the End (when I did this I didn't have fancy libraries so I like very much what I could do then) Conferencia Subacuatica (I could sucessfuly emulate underwater sounds with synths) that is all I guess

I think some things in a composition can be attributed to a composer's personality. Haydn liked practical jokes and, sure enough, there are plenty of those in his output ranging from the obvious to the very subtle. Bach's religiousity is evident in several features of his compositions, as is Bruckner's and Messian's, manifested in different forms. Puccini's liking for fine living is reflected in the luscious orchestration and expressive vocal writing in his opera. Composers who are also expert performers will demonstrate a particular approach to writing based on their ideas as a soloist. We can't attribute everything to a certain personality trait, indeed there are many aspects of composers' techniques that often seem to contradict their personal characters, but neither can we ignore it. With regards to myself, I see several traits I am aware of in many of my compositions and in the process of writing them. A meticulous approach to some areas (orchestration, interpretative markings) is tempered by a tendancy to rush into an important moment too quickly and to have to go back and flesh out the approach to make it more effective. Another is my vital need for the parts to be interesting for everybody concerned. I can't stand anything cliched or predictable, and so I try never to write a boring, unimaginative, disposible or thoughtless passage for any of my performers. I think a certain intellectualism manifests itself in the amount of counterpoint I try and incorporate into a piece, and also that I like to end works quietly, so the listener is guided towards contemplation about what has been presented and not just made to acknowledge the end. This in turn is tempered by a need for drama and dramatic contrasts.