miCROfest 2020
4. međunarodni festival mikrotonalne muzike

u subotu, 5.12.2020. u 14 sati

Društveni dom Prečko, Prečko 2a


Dragi prijetelji i kolege,
Usprkos Covid-Richter koktelu kojim ove godine još uvijek imamo priliku nazdravljati, posebno mi je zadovoljstvo pozvati Vas 05.12.2020 na miCROfest 2020 u Zagrebu!

Ovogodišnji jednodnevni program, uvelike reduciran poradi gore navedenih razloga se razlikuje od svih dosadašnjih festivala ponajviše zbog vrlo specifične teme – susret tibetanskog obrednog, europskog klasičnog i suvremenog elektronskog glazbenog instrumentarija!!

Mikrotonalna analiza i sinteza Tibetanskih akustičnih zdjelica, klasičnog gudačkog orchestra i suvremenih sintisajzera kao tema ovogodišnjih koncerata i predavanja, za glavni cilj ima upoznati kompozitore i instrumentaliste sa nepreglednim mogućnostima koju ovakav pristup pisanju i izvođenju muzike nudi!

Za detaljan opis programa posjetite LINK:


Zoran Šćekić,
organizator & umjetnički voditelj festivala miCROfest 2020
4th international festival of microtonal music


Za više informacija pratite službenu Facebook stranicu miCROfesta: https://www.facebook.com/CROmiCROfest/

PREDBILJEŽBE ZA FESTIVAL: Broj mjesta je ograničen te vas molimo da se predbilježite na e-mail: cekate.marketing@gmail.com. Također, napišite za koje predavanje ili koncert radite predbilježbu. Za koncerte u 14 i 20 sati može se predbilježiti 5 osoba, a za predavanja u 17 i u 18 sati može se predbilježiti 10 osoba. 


miCROfest 2020

4th international festival of microtonal music



Dear visitors, friend and colleagues,

As all of you know, this year was very specific in many ways considering the Covid-Richter scenario but despite all restrictions, and cancellations, it is my pleasure to welcome you at 4th international festival of microtonal music in Zagreb!


These years, in many ways reduced edition is one day happening featuring only Croatian musicians and lectors for the reasons mentioned above but beside that, what makes miCROfest 2020 specific in relation to first 3 editions is the topic – EAST meets WEST.


Microtonal analyses and synthesis of Eastern traditional instruments (Tibetan singing bowls), European classical instruments (strings) and modern technology (synthesizers & samplers) is the main subject of this year festivals concerts and lectures aiming to invite composers and instrumentalist to join this specific microtonal method in writing and performing music.


Without the help of individuals mentioned in special thanks section at the end of this program book, there would be no festival this year, so I would like to personally express them my gratitude for their support!


Zoran Šćekić, Artistic director




miCROfest is an international festival of microtonal music


  • • all those tonal musical systems different from equal temperament, dominant western tonal system. The festival aims to create an opportunity for the public to encounter with microtonal music, microtonal instruments and theories of microtonal music.


Organizing series of micCROfests has the following goals:

  • • Introducing and promoting different intonation systems from European traditional music
  • • Introducing and promoting contemporary microtonal art
  • • Stimulating interpretation and composing of microtonal music as a direction of future development of the music


miCROfest program emphasizes the value and importance of traditional microtonal heritage, aiming to motivate musicologists and musicians for more of traditional and contemporary tonal systems research and analysis. Leading microtonal music experts are holding lectures for all interested composers, musicians, instrument builders and enthusiastic amateurs. At the same time, it’s a great and rare opportunity for all the public to hear live performances of traditional and contemporary microtonal music.






Prečko 2A


14.00h – 15.00h

– Opening of 4th international festival of microtonal music miCROfest 2020 – introductory speech


1st CONCERT „determination “


“Evening Bells & Morning Bels” (8 min.)

“Echos of Ivan & Strong Man” (10 min.)

Ana Žgur – solo piano


“9 fragments for alto saxophone” (15 min.)

Antica Berislav – solo saxophone


“Ad formam spectralem”* – (11 min.)

Conductor: Jurica Petar Petrač


Keyboard I: Terezija Cukrov

Keyboard II: Ana Žgur

Keyboard III: Marija Anđela Biondić



Joško Stojanov

Georg Draušnik

Eleonora Hil

Eva Šulić


Filip Kojundžić

Marta Balenovic


Josip Boštjančić

Janko Franković



* World premiere

(All compositions written and arranged by Zoran Šćekić)



  • lunch break –





17.00h – 18.00h

„The Art of Spectral Groups “

Zoran Šćekić


18.15h – 19.15h

„Microtonal Hacking “

Lovro Hrust



20.00h – closing of 4th international festival of microtonal music miCROfest 2020 – short speech



2nd CONCERT „improvisation “


„Compression – Decompression “

„Construction 3.1“

„Construction 2.4“

„Construction 1.3“

„Free Session “*


Ensemble „ Abstract Construction Collective “:


Pavle Jovanović – Electric Guitar & Live Electronics

Zoran Šćekić – modified slide guitar

Damir Prica – Tenor & Soprano saxophone

Borko Rupena – Drums, Percussion & Tibetan singing bowls


* World premiere

(All compositions written and arranged by Zoran Šćekić except for „Free Session“ written and arranged by ensemble Abstract Construction Collective)







1st CONCERT „determination “


“Evening Bells & Morning Bells “

“Echos of Ivan & Strong Man “


All four pieces written for solo piano are aiming to explore the harmony of non-tempered microtonal system based on integer harmonics, also called Just intonation. All music intervals used in these compositions are built on prime numbers 2, 3 and 5, which are usually called the five limit intervals. Comparing with 12 tone equal tempered scale, among many other differences, just intonation features far stronger contrast between consonant and dissonant intervals, which is the main subject of this compositions. That is the reason why the tones B and F sharp are omitted from piano register in order to gain two different pitches for tones G and B flat. “Evening bells & Morning Bells” are inspired by traditional music and together with the original composition “Strong man”, they all share the same goal – presenting strong consonance of Just intonation. Unlike the already mentioned composition, the main subject of exploration within composition “Echoes of Ivan” is strong dissonance within Just intonation – still within same piano tuning! Inspiration and dedication for this composition goes to Russian microtonal composer Ivan Wyschnegradsky.

All four compositions are from the CD album “Just music” published by Ravello Records 2015 and distributed by NAXOS. Album is among the BEST of 2015 in the USA based on the Grammy award winner John Schneider choice, next to the Harry Partch and Brad Mehldau.


       “The beauty of his music is not only found in the mathematical structures imposed, but in the space between the notes and in the dynamic progression within the pieces. Works like 23.10 and Strong Man bring to mind Erik Satie s piano pieces, film music, and minimalism. Šćekić masterfully crafts pieces that on the surface portray often lyrical, placid, and harmonic gestures, yet are richly calculated and complex in their construction.”

PARMA Recordings

NH, United States


       “This is a very different sort of album in which the piano is presented in very subtle and peculiar ways. The tracks on Just Music show just how beautiful the tones of the piano can be. It’s a world in which the sound of the individual notes is much more important than the speed or complexity of the pieces. This album is…simply beautiful. One of the most impressive piano albums we’ve ever heard. Recommended. Top pick.”


Comics, Poetry, and Reviews by LMNOP


“9 fragments for alto saxophone “


Nine fragments for alto saxophone is a piece inspired by Madonna’s Weeping (Croatian: Gospin plač), a traditional chant from the island Hvar, that forms a part of the traditional ceremony of the Holy Week, the procession Following the Cross, that takes part in the night from Holy Thursday to Holy Friday. The tradition dates back to the year 1510 and the first writings about the procession date from 1658. The focal point of the procession is the Madonna’s Weeping, octosyllabics passion text from the 15th century, sung by previously chosen singers, kantaduri. The chant recorded by the Faroski kantaduri, used as the basis for this piece, originates from Vrbanj (sung by: Andro Matković, Mili Matković and Jakov Stipetić). An extensive work done by the composer and the performer of the piece included field work, studying the chants, analysis and transcription of the recording, designing a music writing method that would successfully connect the material with the nature of the instrument and ultimately fitting it all into the composer’s poetics. Through the use of many possibilities provided by the non-tempered microtonal traditional music, the composer expands his spectrum of possibilities for composing, using the elements of the chant as a starting point, but also as one of the tools in his own compositional technique. The transcription showed that the chant has 13 different tones in the interval of a fifth, so the odd numbered fragments are based on a non-tempered 13-tone division of a fifth, while the even numbered fragments, written in the tempered system, are centred around three short melodies that are based on two chants from the Lamentations of the Virgin Mary/Gospin Plač.


“Ad Formam Spectralem”


This microtonal composition is written for specially selected 36 Peter Hess Tibetan singing bowls, two keyboards and strings. Tibetan singing bowls produce many different harmonics – all of them are irrational and many of them are random. In order to achieve consonant intervals based on harmonic structure between the singing bowls themselves, spectral analyses followed by extrapolation of singing bowls groups was necessary. For this composition I’ve extrapolated 15 singing bowls groups and constructed 15 different microtonal 12-tone scales tuning (this process is described in detail in my study “The art of spectral groups – irrational random intervals harmony doctrine – nine steps before composing”). Each keyboard player must have an assistant to change the tuning along the performance using the key-switch function placed on the lowest 15 keys. 36 Peter Hess Singing Bowls are divided in 6 groups among 6 percussion players.

The main idea of this composition is to present the possibilities of the method described in the study “The art of the spectral groups”, to present and popularize the richness of the sound of Tibetan singing bowls, to show how wonderful they can blend with classical western instruments tuned according to microtonal analyses, to presents beautiful and completely new harmony based on the structure of  Tibetan singing bowls tones and to invite other composers and musicians to explore the endless microtonal possibilities of the irrational random intervals harmony by writing new pieces for selected 36 Peter Hess singing bowls.


Unfortunately, two months before the premiere, The Peter Hess Institute from (Sustedt, Germany) and Peter Hess® Akademija Adria Grupa (Zagreb, Croatia) have cancelled the collaboration. That is the reason why the composition premiere will not feature original 36 Peter Hess Tibetan singing bowls but instead there will be the 3rd keyboard player performing parts of all 36 singing bowls by using the samples of the singing bowls recorded in studio at University of Zagreb Academy of Music.




„The Art of Spectral Groups “ – Zoran Šćekić


Musical harmony, as we know today draws its roots from 3 basic major triads – tonic, subdominant and dominant. This structure of musical harmony is not invented by a man but discovered by a man because it simply comes from the physical structure of the ton itself! (“Harmony I”; Fran Lhotka) The ton that we here speak about is a ton with integer harmonics, which means that the harmonics are integer multiples of the lowest frequency in the ton spectra, also called the root frequency. This kind of the ton, with integer harmonics is produced by any vibrating bodies with fix points on both of their ends (vocal cords, line of air in the tube or any type of string). Vibrating bodies with one or no fix points produces tones with irrational harmonics (all type of percussive instruments including bells, bowls, cymbals etc.).

If the harmonic structure of this instruments is too far away from the tuning system of those with integer harmonics, they are mostly used as dissonant effect like tubular bells are used in orchestral scores for example. Or completely new kind of music is produced by the use of instruments with irrational harmonics where the main subject is not the harmony but rhythmic, like in traditional music of some parts of Indonesia called Gamelan for example.


But is there a completely new type of musical harmony based on irrational harmonics…?!


This lecture is presentation of an exhaustive study that I did in order to create a practical method for writing microtonal consonant (in broader sense) music for specially selected 36 Peter Hess Tibetan singing bowls. The method consists of 9 steps and it can be applied to absolutely any type of sound but I created it especially for tones with random irrational harmonics. The chapters of the study are listed below:



(Irrational random intervals harmony doctrine)

Study by Zoran Šćekić



“9 steps before composing”


step 1# – spectral analyses

step 2# – table of harmonics

step 3# – mathematical comparison

step 4# – all unis and near unis connections

step 5# – unis and near unis harmonic compatibility

step 6# – all unis centralized groups & scales

step 7# – all unis and near unis centralized groups & scales

step 8# – group selection and 12 tone scales construction, tuning and notation

step 9# – mutual tones within each pair of selected twelve-tone scales and individal singiong bowls



„Microtonal software“ – Lovro Hrust


Composing and performing music in unconventional music scales at the present moment, although there is significant progress in this field, can be described as an “exotic” and laborious activity engaged by a small community. Because of that, instruments for performing such music are often made individually or in small series, and performing “by ear” is difficult if a newly created scale is played, that has not yet entered the “inner ear” of the performers. Experimenting with new scales and performing can be made easier by using software instruments that provide the ability to quickly “tune” software instruments and the software can even be used to create new music scales by specifying the algorithms by which the scale is generated. Due to the little interest and popularity of such music, products in the field of software music aids more often than not do not provide such tuning capabilities, or computer programming knowledge is required to achieve them. The lecture will provide an overview of frequently used tools and possibilities for creating music of unconventional music scales by means of computer software. Steps on how to get from the idea of​​a musical scale to its realization in a virtual musical instrument will also be briefly presented.



2nd CONCERT „improvisation“


As a contrast to 1st concert of the miCROfest 2020 program which features highly determined harmony based on the method of spectral groups where every note of the music is interpretated as it’s written, 2nd concert brings out almost an opposite approach on how to create music for specific palette of tones, clearly defined by its spectral structure where almost every note of the music is improvised and written in the same time..! This approach could be described as more intuitive one. The idea is to bring together excellent instrumentalists experienced in improvised music and let them to build musical texture that would support the physics of the sound presented by Tibetan singing bowls. A means to an end, beside the experience in improvised music can be a graphic notation as well. Here is excerpt from the introduction of Zoran Šćekić Master thesis „Graphic and hybrid scores as a synthesis of written and improvised music “:

„For today’s musicians, the mention of improvisation mostly entices associations with jazz, blues, funk, rock, folk, etc., but one should not forget that improvisation had a vital role in the music of the Renaissance and Baroque and still has one in contemporary music.

A spontaneous and convincing performance as a trait of improvised music is clearly audi- ble even to audiences without any musical education.
Complexity of form and richness of arrangement are another pair of attributes typical for writ- ten music equally easy to detect.

Graphic and hybrid notation as possible ways to synthesize these two characteristics of written and improvised music is a topic almost as old as music itself. The hypothesis is that all graphic or hybrid scores can be quantitatively and qualitatively classified. The most common method of approaching this notion is to define the similarities and differences between improvised and written music, determine the level of their synthesis in order to organize a classification and yield an analysis of some of the works of an author according to the newly-created classification.

According to the experience of the author of this thesis, all works, this author’s own included, can be classified according to two different criteria and each can be divided into 3 separate categories.

Selecting differences between written and improvised music, finding the differences and similarities between different types of improvised music and classifying the synthesis of these two kinds of music will lay the foundation for analyses that form the main part of this thesis. “





Ana Žgur

Pianist graduated from the Zagreb Music Academy in the class of Professor Đorđe Stanetti. After graduation she started working in Zagreb as a piano teacher at the Vatroslav Lisinski Music School. Along with her educational work, she has performed as a soloist in recitals and collaborated with various chamber music ensembles. She accomplished her special professional skills under Dr.h.c. Arbo Valdma at seminars in Estonia, Germany, and Croatia. Since 2009 she has been working with composer Zoran Šćekić on his research on microtonal music, sharing his enthusiasm and interest in that field. She has performed premieres for piano in five limit just intonation. She had her first premiere of microtonal composition 23.10. at the Artmusfair in Warsaw in 2010. She also took part in EUROMicroFest in 2015 with her acclaimed recital within the Panmonism Zagreb, 2015 Project, which made her a true promoter of microtonal music.


Berislav Antica

He graduated in 2003 at the Music Academy in Zagreb with Dragan Sremec and afterwards at the Conservatoire national de region de Cergy – Pontoise, in the class of Jean-Yves Fourmeau. He took part in several international saxophone competitions (Slovenia, Poland, and Germany) and went to many seminars and master classes by some of the most important saxophone players and pedagogues. Since 2004 he works as a pedagogue himself, he has held a number of concerts as a part of a chamber ensemble and as a soloist, that always intertwined with an array of his concert activities in the field of popular and jazz music, where he takes up roles of a musician, music arranger and accompanist. In 2015, Croatia Records published his solo CD „Fragments“ which contains works by Croatian contemporary composers including „9 Fragments For Alto Saxophone“ by Zoran Šćekić.


Terezija Cukrov

Hailed by the prestigious New York Times for „impressive aplomb and vigor“, pianist Terezija Cukrov performed widely across Europe, North America and Asia. She gave her debut solo recital at the Weill Recital Hall at Carnegie Hall in 2008, took part in a project for prepared piano at the Museum of Modern Art in New York (2010.) and gave a toy piano recital at the Zagreb biennale festival  (2015.).  She gave lectures on „Folklore elements in art music“ in Russia, Georgia, Slovenia and Serbia.

Ms. Cukrov holds degrees from the Music Academy at the Zagreb University, Masters from Mannes College of Music in New York and Doctorate from Rutgers University.

She recorded for Albany Records, Pass the Hat records and Innova recordings

Together with her sister and piano duo partner Martina Cukrov Jarrett she co-founded the Terra Magica Music Festival and summer music academy (Poreč, 2004.-2010.) where she served as faculty and program director.

She resides in Zagreb, teaches piano and performs regularly with the most prominent Croatian musicians.


Marija Anđela Biondić (Rijeka, 1998)

Studied Violin with professor Eta Delač at the Primary Music school and continued studying Music Theory in Rijeka at the „Ivana Matetića Ronjgova“ school. Currently, she is a fifth-year student of Music Pedagogy at the Academy of Music in Zagreb, Croatia. During her studies, she was awarded with Rector’s prize of University in Zagreb. Also, she is studying opera singing at „Blagoje Bersa“ Music High school with professor Klasja Modrušan. Aside from numerous performances, Marija Anđela often sings at the school and charity concerts.


Jurica Petar Petrač (Zagreb, 1985.)

First pursued music studies at University of Zagreb Academy of Music, where he graduated from in music theory in 2009, and today is a grad student in choral conducting. At age of 17, he founded mixed choir Capella miércoles, and from 2008 until 2014 he led Capella juris, mixed choir based at Faculty of Law (University of Zagreb), with whom he won several important awards at various choir competitions in Croatia and abroad (Zagreb, Ohrid, Prague, Split, Warsaw). Since 2011 he was appointed as new conductor of Oratorio Choir of the Church of St. Mark, Cantores sancti Marci, with whom he won several international gold music awards at prestigious choir festivals (Niš, Bratislava, Zagreb, Ohrid, Riga, Prijedor). His regular artistic activity includes concert mass performances at St. Mark’s Church every Sunday as well as concert performances with Oratorio Choir, which in the last few years included series of a cappella music spanning period from Middle Ages to commisioned works from our times and oratorio works in collaboration with Symphonic orchestra of Croatian Radio Television, Dubrovnik Symphonic Orchestra, Croatian chamber orchestra and Croatian baroque ensemble. Since 2015 he is singing with Antiphonus vocal ansamble. He also took additional studies with various vocal (M. Gojčeta Silić, B. Falinska, K. Livljanić) and conducting experts (C. Metters, D. Reuss, M. Korovitch, S. Carrington, V. Kranjčević, H. Speck, D. Danzmayer, M. Tarbuk, N. Schweckendick). He teaches music at Blagoje Bersa Music School in Zagreb and since 2019 he is artistic director of klapa Cesarice.


Lovro Hrust

Born in Zagreb 1973. He completed geophysics with a specialization in meteorology and acquired a master’s degree in atmospheric sciences. After his studies, he worked in the field of environmental protection, writing elaborates and studies of environmental protection. He transitioned his interests to new job, metrology in the field of air quality in environmental protection, which was his regular job until recently. Recently, he started an entrepreneurial venture as a full time computer programmer, which he has been doing as part time job since childhood, in parallel with his studies and jobs. His second love since the young age was music, which he still does as a hobby at present time. He is particularly interested in alternative music scales and the question of “the development of an alternative music scale that would be equal in expressiveness and possibilities to the existing major and minor equal temperament scale systems”.


Zoran Šćekić  (Djakovo, 1972)

Within the field of written and improvised 12-EDO music, his work as a composer, arranger and guitarist is a result of playing jazz guitar in duo, trio and quartet, writing theatre and film music, participating in jazz and free jazz festivals, music biennials, writing scores in standard, graphic and hybrid notation for different orchestras (jazz orchestra, chamber orchestra, symphony orchestra, choir, tambura orchestra etc.) and working with some international names such as Miroslav Vitouš, Pascal Rophe, Chriss Jarrett, Jon Irabagon , Michael Abenne etc.

Within his microtonal work, he had compositions premiers, seminars and workshops in European capitals. Inventor of micro tonal keyboard prototype (Z-board) built in San Diego. Author of the book about microtonal harmony “Five limit intervals – theory & praxis” and co-author with Prof.Dr. Zvonimir Šikić on the book “Mathematics and music”. His CD album “Just music” – music for piano in five limit Just intonation with Ravello Records is among the BEST of 2015 in the USA based on the Grammy award winner John Schneider choice, next to the Harry Partch and Brad Mehldau. Author of multimedia project “Panmonism” about the connection between mathematics and music. Inventor of harmonograph prototype (Lira Spectrum) built in Bari, Italy after his construction. Lira Spectrum is now a permanent exhibit of technical museum “Nikola Tesla” in Zagreb, Croatia.

Winner of 1998 Bruxelles Stipendium for student of the year, 2004 Croatian Theatre Award for best dance performance for composition & interpretation, 2009 Porin for the Jazz song of the year for arrangement, 2015 Winner of the Croatian Composer Society contest “International” for CD “Just Music”,  2016 Winner of the ‘3rd Annual European Bigband Composer Competition’ in Copenhagen for “Sphinx Avenue”, 2018 Ethno music Award Franjo Kuhac for arrangement and composition “Harmony of dissonance”. Founder of CAMA (Croatian Association of Microtonal Art) and artistic director of miCROfest.



Abstract Construction Collective


Zoran Šćekić – modified slide guitar (Croatia)

Nikola Vuković – trumpet (Serbia)

Pavle Jovanović – guitar (Croatia)

Ivar Roban Križić – double bass (Croatia / Austria)

Luis Oliviera – drums (Brazil)

The Abstract Construction Collective ensemble is a group of musicians who share a passion for free improvisation within the given frames of the graphic scores. The project was created in 2016 on the initiative of guitarist Pavle Jovanović with the idea of ​​reviving such an approach in the modern music scene in Croatia. Through the search for like-minded people, a collective was created consisting of jazz musicians of different generations, some years present on the Croatian and international scene and some younger ones whose time is yet to come. The collective’s own sound and expression is based on completely free improvisation, with foundations in American and European free jazz from the 1970’s onwards but also in new twentieth-century classical music where noise is as valuable a means of expression as a tone.

Abstract Construction Collective released their first album in 2020 for the record label ‘Cantus’ called Compression-Decompression. The album presents 11 original compositions by Zoran Šćekić and members of the entire ensemble. The album also featured saxophonist Damir Prica and guitarist Luka Čapeta. The audio was recorded and produced in the ‘Soundbrick’ studio in Zagreb under the direction of Pavle Jovanović as a producer and Luka Grubišić Čaba as a tone master and audio engineer. Koletkiv performed at the Zagreb Biennale in 2017 in the form of a sextet, where they were joined as a guest by the top American pianist Chris Jarret. The entire concert was recorded for Croatian Radio Television and was shown as part of the show ‘It’s Time for Jazz’.

Members of the collective tried and tested idea of ​​composer and guitarist Zoran Šćekić who has developed special system of graphic notation in order to achieve a synthesis of written and improvised music. This is the main subject of his master thesis „Graphic and hybrid scores as a synthesis of written and improvised music” underlined with Johann Wolfgang von Goethe

quotation: “Music is liquid architecture; Architecture is frozen music “.

Music biennale 2017 in Zagreb:



Festival of new Croatian Jazz:









Artistic director and producer: Zoran Šćekić


CAMA – croatian association of microtonal art

The association has been founded at the beginning of the 2015 with a following goals: to promote, develop and advance traditional and contemporary microtonal music; to initiate systematic and detailed research of traditional microtonal systems as an important part of the cultural heritage; to initiate and promote composition and interpretation in microtonal systems for further development of the music in general; to promote objective connection between science and art. Since its founding, association has delivered few relevant projects: Panmonism premiere in Zagreb was its first project – this was also the first official participation of Croatia at European Festival of Microtonal music – EUROMicroFest 2015. With support from Croatian Composers Society 2015 International award, CAMA published “Just Music” – CD album of Zoran Šćekić microtonal compositions. In 2016 CAMA launched its project dedicated to the research of traditional microtonal systems “ADRIA Microtonalis” dedicated to the research of Istria scales and its specifics in cooperation with “Ivan Matatic Ronjgov institution”. In 2016 first miCROfest is organized followed by miCROfest 2017, 2018 & 2020.



Republic of Croatia Ministry of Culture City of Zagreb (logo)



University of Zagreb Academy of Music (logo)

Centar for culture Trešnjevka – CeKaTe (logo)

Croatian Composers Society (logo)



Berislav Šipuš

Georg Draušnik

Luka Grubišić Čabo

Antica Berislav

Jurica Petar Petrač

Terezija Cukrov

Ana Žgur

Marija Anđela Biondić

Joško Stojanov

Eleonora Hil

Eva Šulić

Filip Kojundžić

Marta Balenovic

Josip Boštjančić

Janko Franković




Lovro Hrust

Vjekoslav Nježić


miCROfest 2020
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