Milko Lazar

Was born in 1965 in Maribor. A composer as well as harpsichord and saxophone player, he studied piano and saxophone at the secondary music school and continued his music education at the Departments of Classical and Jazz Music of the Academy of Music in Graz, as well as at the Royal Conservatory in The Hague (harpsichord and baroque music).
He lives in Ljubljana, working as a saxophone player ­ soloist and conductor of the Slovenian Radio and tv big band; he also collaborates with this orchestra as a composer.
Milko Lazar was a co-founder of the off-ensembles Quatebriga and ·tefbet Rifi (still active). He also performs baroque music. Recently he has been devoting more time to composition: OI write music1, he says, Obecause it is for me a universal language which combines diverse cultures and takes me to the places where there is no light, no darkness, no sound, and no silence. In a constant search for pure music I try to conjure up the image of this time and place, here and now.1

Selected works (since 1995): Suite for saxophone quartet (1995), Mirna Bosna for bass clarinet, electric keyboards, electric double-bass and percussion (1995), Insolenca for big band (1996), The Soil Tube for big band (1996), Largo ­ Reflection for electric keyboards, soprano saxophone and percussion (1996), Moderato Waltz ­ Korak for electric keyboards, electric bass clarinet, soprano saxophone, violin, cello and percussion (1996), Tempi Diversi ­ Suite for electric keyboards, bass clarinet, soprano saxophone, two recorders (tenor and soprano) and percussion (1996), Allegro Energico for electric keyboards, bass clarinet, violin, cello and percussion (1996), Andante ­ Uvod v neznano for electric keyboards, bass clarinet, soprano saxophone, harpsichord and percussion (1996), Vivace ­ Z njimi for electric keyboards, acoustic guitar and percussion (1996), Ground ­ Ritual for African percussion, tenor recorder and electric keyboards (1996), Gigue ­ Z nami for electric keyboards, saxophones and percussion (1996), Andante con Moto ­ Znana pesem for electric keyboards, saxophones and percussion (1996) (1996), Suite for flute, viola, cello and harpsichord (1996), Holandspoor for big band, alto saxophone, trumpet and electric guitar (1998), Northern Impressions for big band, alto saxophone, tenor saxophone, and electric guitar (1998), Concrete Knots for big band, alto saxophone and electric guitar (1998), Voda in pesek for big band, soprano saxophone, trumpet and electric guitar (1998), Izgubljena knjiga for alto saxophone (bass clarinet), violin, accordion and double-bass (1998), Beg na vas for alto saxophone (tenor recorder), violin, accordion and double-bass (1998), Izhodi for guitar (1998), Aufbiks for alto saxophone, accordion and double-bass (1998), Jelen na begu for violin and piano (1999), Miniature for Three Alto Saxophones (1999), Concerto for Saxophone Quartet No. 1 or Saxophone Quartet No. 1 (1999), Invention for guitar (1999), Zob za zob for alto saxophone, violin and double-bass (1999), Hunski hrbti 1 for big band, trombone and alto saxophone (1999), Hunski hrbti 2 for big band and piano (1999), Hunski hrbti 3 for big band, trombone, electric guitar and tenore saxophone (1999), Cam Agas Gust Cister Azip Com for orchestra and speaker (1999), Premiki for big band (2000), Fantasy in Slightly American Style for two pianos (2000), Comme il faut for alto saxophone, electric guitar and big band (2000), Sonata for Alto Saxophone and Piano No. 2 (2000), Driving Lesson No. 12 for percussion ensemble (2001), Sonata for Harp and Piano No. 2 (2001), Concert for Piano and Jazz Orchestra (2001), Five Short Pieces For Piano Quartet (2001), Five Short Pieces For Piano Trio (2001), Music For String Trio (2001), Transverse Concerto (2001), Triple Concerto for piano, orchestra and big band with soloists (2002), Stories About Jazz for brass quintet and saxophone quartet (2002), Five Short Pieces for flute and guitar (2002), Music for Guitar Quartet (2002).

Obscure Songs
>From the obscure reaches of the mind come obscure thoughts. Obscure thoughts give rise to obscure songs. He who hears them by accident shouldn1t tell anyone, else they slip away and vanish back into obscurity.
Milko Lazar