EUGEN INDJIC  was born in Belgrade in 1947.
His mother was a Russian amateur pianist and his father a Serbian army general under King Peter II of Yugoslavia. Immigrating to the US with his mother at the age of four, he there became interested in music after hearing a recording of Chopin’s Fantaisie-Impromptu and Polonaise in A flat major.
Moved by a desire to master these pieces, he took systematic piano lessons with Georgian pianist, Liubov Stephani and Benjamin Kalman, a student of Emil von Sauer in Berlin.
Eugen Indjic made his first public performance at the age of nine, appearing with the Springfield Symphony, playing Mozart’s D minor Piano Concerto.
After two years, Mrs. Stephani introduced him to Alexander Borovsky (the eminent Russian pianist and Prokofiev’s classmate in Yesipova’s class) who taught him in Boston for the next five years (1959-1964).
At the age of eleven, he was already playing Liszt’s Campanella and 13th Hungarian Rhapsody on NBC television and at twelve, made his first recording for RCA Victor on Rachmaninov’s own piano, playing Beethoven’s Diabelli Variations.
At thirteen, he performed Liszt’s Piano Concerto No.1 and a year later the Brahms Piano Concerto No.2 with the Washington National Symphony Orchestra.
Between 1961 and 1971, invited by Arthur Fiedler, Eugen Indjic appeared numerous times each season with the Boston Pops orchestra. His first concert tour was in Denmark (1963), together with Alexander Borovsky.
“He plays Chopin as a pole, Debussy as a Frenchman and Prokofiev as a Russian master” wrote the Politiken of Copenhagen.
After his graduation year from Phillips Academy in Andover, Erich Leinsdorf invited him to play Brahms’ Piano Concerto No. 2 with the Boston Symphony, making him the youngest soloist ever to appear with that orchestra.
Leonard-Bernstein Scholar at Harvard University, he studied musicology and composition with Laurence Berman and Leon Kirchner graduating “cum laude” in 1969. Kirchner, a student of Schönberg, introduced Indjic to Schenkerian analysis, of which he remains an ardent proponent.
Bernstein qualified him as “an extraordinary pianist and musician” and Emil Gilels, for whom he played often in these years called him “a unique and inspired artist”.
During his Harvard years, he took private lessons at the Juilliard School of Music with Mieczysław Münz and Rosina Lhévinne’s apprentice Lee Thompson.
In 1968, he met Arthur Rubinstein, who until his death remained a friend and mentor, calling Indjic “a world-class pianist of rare musical and artistic perfection”.
His friend, the composer Alexandre Tansman, who introduced him to Vladimir Horowitz, dedicated Caprice: A Piacere to him.
At that time he continued studying composition with Nadia Boulanger in Paris.
He settled in France in 1972 after marrying Odile Rabaud, granddaughter of the French composer Henri Rabaud (Fauré’s successor at the Paris Conservatory) later becoming both an American and a French citizen.
Prize-winner of three international contests – Warsaw (1970), Leeds (1972), and Rubinstein (1974), Indjic has performed with the leading orchestras of the United States, South America, Europe and Asia, and under such conductors as Bernstein, Bělohlávek, Casadesus, Fedoseiev, Gergiev, Gielen, Jochum, Kubelík, Leinsdorf, Sanderling, Sinopoli, Solti, von Matačić, de Waart, Wit and Zinman, among others.
He continues to play regularly on great world stages such as Carnegie Hall, Avery Fisher Hall, Queen Elisabeth Hall, the Concertgebouw, the Musikverein, Salle Pleyel and Théâtre des Champs-Elysées, Tchaikovsky Hall, La Scala, etc.
Eugen Indjic was invited to participate in a televised co-production (France, Poland, Japan) of Chopin’s complete works and has recorded for Polskie Nagrania / Muza, Sony, RCA Victor, Claves and Calliope.
His discography includes works by Chopin, Debussy and Schumann (now all re-issued by the Andante Spianato label) as well as works by Stravinsky and Beethoven.
Arte Nova Classics has released live performances with the SWF Orchestra of Tchaikovsky’s Concerto in B-flat minor with Ahronovich and Rachmaninov’s Paganini Variations with Sinopoli.
His recording of Chopin’s Mazurkas was doubly acclaimed because of the Joyce Hatto hoax. The English pianist signed her name to this disc and received rave reviews.
In addition to performing, Indjic regularly teaches master classes in Europe – notably at the historic Schola Cantorum in Paris – Japan and the United States, and is a frequent jury member of international competitions including the Chopin, Liszt Wroclaw, Rubinstein Tel Aviv, Prague Spring Festival, Lisbon Vianna Da Motta…
In 2010, he was named “artist-in-residence” at the Prague Symphony Orchestra.
“I do not know what to admire most in him: the supreme command of the instrument, the refined delicacy of sound, an interpretation, scrupulous and transparent in everyway… The concert itself becomes a work of art. One could not conceive a more complete musicality and more exquisite perfection, attached to this simplicity that strikes everyone.”  Vladimir Jankélévitch.


MICHAEL LESLIE, Australian concert pianist, resident in Munich, Germany.
When Leslie sits down to the piano one is exhilarated by the vitality of his playing. He doesn‘t pander to the gallery, but challenges each work afresh each time he plays it. The music emerges fresh, warm, vivid, and alive. By nature drawn to the problematical and the challenging, his explorations of the greatest works of the piano literature – the “Goldberg Variations”, the Art of Fugue, the “Hammerklavier” Sonata and “Diabelli” Variations, the last Schubert Sonatas – are awe-inspiring struggles to articulate the profoundest thoughts of the profoundest minds that have ever expressed themselves in music.
During his studies at the Conservatorium of Sydney he made several appearances with leading Australian orchestras. These concerto performances included notably the Beethoven 4th and 5th Piano Concertos, the Brahms 2nd and the first Australian performance of the Bartók 1st Piano Concerto. He also took part in the first Australian performance of the Bartók Sonata for Two Pianos and Percussion. As a student of Rosl Schmid at the Munich Hochschule für Musik he won 1st prize in the Competition of the West German Hochschulen and 3rd prize in the International Competition of the Bavarian Radio.
His repertoire ranges from William Byrd to Lutoslawsky and includes the Bach Goldberg Variations and The Art of Fugue, all the Beethoven Piano Sonatas and the complete piano works of Schönberg.
His concert activity includes tours of Germany, Austria, England, Scotland, France, Italy, Sicily, Norway, Ghana, Serbia, Sweden and Australia. In Sydney he was recently hailed as one of the finest musicians ever to come out of the country. “Sydney’s loss is Germany’s gain”
Masterclasses and piano tuition for students and music lovers. Preparation for music academies and piano competitions.


NINO GUREVICH, the Georgian pianist  was born in Tbilissi, Georgia.
Music surrounded her since earlychildhood: her mother was a piano teacher and her father Professor Willi Gurevich, conductor and musicologist, was the head of the composition and music theory department of the Tbilissi State
Conservatory. Nino received her first piano lesson at the tender age of four from Professor Edisher Russishvili, a distinguished piano professor at the Tbilissi State Conservatory and a close friend of the family.
Professor Russishvili immediately recognized the girl’s enormous musicality, natural creativity and pianistic potential, and, though usually working exclusively with the Conservatory students aged 18 and over, he gladly took over the task of teaching Nino.
In 1982 Nino was accepted at the Z. Paliashvili Music School for especially gifted children and officially began her studies with Professor Russishvili, with whom she stayed throughout her time at the school and later at the Tbilissi State Conservatory. As her debut at the age of nine she performed Mozart piano concerto in A major (K. 488) with the Georgian Symphony Orchestra.
Still a schoolgirl, she already had a great success playing solo recitals, concertos with best orchestras of Georgia under such distinguished conductors as Djansug Kakhidze, Revaz Takidze and Vakhtang Machavariani. She was a regular guest at the Telavi International Music Festival alongside masters of an international fame such as Elisso Wirssaladze, Dmitriy Bashkirov, Oleg Kagan, Oleg Krysa, Yuri Bashmet, Natalia Gutman, Eduard Brunner, Saulius Sondeckis.
From 1991 to 1999 she made multiple recordings for Georgian Radio and Television.
The list of the national and international piano competitions at which she was commended is alsoimpressive: starting with the second prize at the First Tbilissi Piano Competition in 1987, she became a laureate as well as winner of Special Prizes at the 1st Georgia State Piano Competition in 1995; First International Tbilissi Piano Competition in 1997, B. Dvarionas International Young Pianists Competition in Vilnius (1989); of the First International Frederic Chopin Young Pianist Competition, Moscow, Russia (1992). In 1991 Nino Gurevich was awarded a Commendation and Scholarship of the International Program “New Names” for exeptionally gifted young musicians and in 1998 she was the receipient of the Vladimir Spivakov International Foundation scholarship.
At the Telavi International Music Festival Nino Gurevich was brought to the attention of the eminent georgian pianist Elisso Wirssaldze. After graduating from the Tbilissi State Conservatory with honours in 1999, Nino Gurevich went to Munich, Germany, to complete her pianistic education at the Munich’s “Hochschule für Musik und Theater” under the guidance of Professor Wirssaladze, one of the most sought–after piano teachers in Europe. Nino was the winner of the “Musikhochschule München” Concerto Competition in 2000 and successfully took part in various international piano competition, among those: F. Chopin (Warsaw), R. Schumann (Zwickau), C. Schumann (Düsseldorf), F. Schubert (Dortmund), F. Busoni (Bolzano).
Nino Gurevich enjoys regular concert activity as a soloist as well as a chamber musician throughout Europe and Asia. Among the highlights of her performing career are: solo recitals at International Festivals, such as Oleg Kagan Festival in Kreuth, Germany, International “Ruhr Piano Festival” in Dortmund (Germany), performances throughout Germany, Italy, Austria as a member of the “Daphioni” piano trio, performance of Beethoven’s Concerto No. 4 with the State Symphony Orchestra of Novosibrsk Philharmony under maestro Arnold Katz, chamber music concert in Seoul etc.


ZORAN IMŠIROVIĆ  was born in 1979 in the Socialist Federal Republic of Yugoslavia. He acquired his first professional music education in Niš, relatively late, at age 14 in the class of Professor Svetlana Korunović, working simultaneously with Miroslav Lila Petrović in Belgrade.
In 1997, Zoran enrolled studies in Munich and his professors were distinguished pianists: Vadim Sukhanov, Michael Leslie, Gernot Sieber, Roxana Steubing and Olaf Dressler. Special musical impulses and education were gained through acquaintance and longtime work with great pianists such as Klaus Schilde and Eliso Virsaladze, and additional mastering on masterpieces with pianists such as Rudolf Kehrer, Michail Voskresensky, Amadeus Vebersinke, Georg Sava, Karl Betz, Naum Starkman, Eliso Virsaladze, Klaus Schilde, Konrad Richter and Menahem Pressler.
After completing his studies, he lives in Munich and engages concerts in Italy, Germany, France, Spain, Austria, Switzerland, Hungary, Romania, Bulgaria, Malta and the countries of the former Yugoslavia. Especially is noteworthy his Franz Liszt – superstar tour with the recordings for German state television on the occasion of the 200th birth anniversary of the composer. As an artist in constant search for new ways to bring the music closer to the audience, in 2014 he initiated a conceptually unique Piano Summer project.
Additionally, he opened the concert series Classic im Club, and together in collaboration with Modern Pinakotheken in Munich, he also performed Music for Six Pianos by Steve Reich and performed with the famous artist Hose Maria Cano.
In addition to the great affection towards the German Romanticism, especially the works of Schumann and Brahms, Imširović regularly promotes the music of the composers from the Yugoslav region abroad. He has won numerous awards; one of them is the Golden Lion of Veneto in Italy.
He is a regular guest at the following festivals: Kammermusik Festival Nürnberg, Klavierfestival Garmisch-Partenkirchen, Musikherbst Radolfzell, The Flower of Tisa, Brahms Festival Heide. He is a regular guest at concerts organized by renowned institutes such as: Goethe Institute, Heinrich Böhl Stiftung, Pinakothek der Moderne Munich, Konzerthaus Berlin, Konzerthaus Bleibach, Ars Bosnae, Balkannet, Sarajevo Art and SANU.


CONGYU WANG, hailed as a “complete musician – a sensitive artist and an extremely talented young pianist”, Congyu Wang is an internationally renowned soloist who has garnered acclaim as a recitalist, accompanist and chamber musician.
Born in Singapore, Congyu Wang started playing the piano at the age of 3. He was selected for a scholarship that enabled him to attend the prestigious Ecole Normale de Musique de Paris, where he studied with renowned pianists Jean-Marc Luisada and Odile Catelin-Delangle. He later enrolled in the Schola Cantorum (Paris) to continue his studies with Gabriel Tacchino (who had been Francis Poulenc’s only student).
Ever since youth, Congyu Wang has enjoyed phenomenal success in international piano competitions, ultimately winning the Grand Prize in Berlin and Bordeaux. His other prizes include Vulaines-sur-Seine, Lagny-sur-Marne, Merignac and Paris.
At the Chopin International Piano Competition for Young Pianists in Slovenia, Congyu was awarded 6th Prize. One of the jury members, François Weigel, believed he should have won, and resigned thereupon in protest. Congyu Wang has since made appearances in over 500 recitals in France, England, Italy, Spain, Portugal, Belgium, Switzerland, Germany, Croatia, Estonia, Sweden, Reunion Island, Thailand, Indonesia, Malaysia, Singapore and other countries. Congyu Wang is a Young Steinway Artist.
Highlights of some of his performances include festival appearances at Château de la Verrerie (France), Ernen Music Festival (Switzerland), the Geza Anda Piano Festival Masterclasses (Berlin), the International Isang Yun Academy (Paris), International Hammer Klavier Piano Series (Barcelona), International Youth Piano Festival (Amarante). His music was broadcasted on French, Swiss and Singapore radios.
Congyu Wang has earned a reputation for delivering stunning performances of extremely demanding repertoire. His vast repertoire includes 30 piano concertos, along with the complete solo piano oeuvre of Chopin and Poulenc.
Throughout his training in two of the most prestigious French music academies, Congyu also actively participated in a great number of masterclasses with pianists such as France Clidat, Aquiles Delle-Vigne, Olivier Cazal, Nicholas Ong, Cecile Wang, Sergio Perticaroli, Karaya Han, Françoise Thinat, Maria de Pietro, Ciao Pagano, Dang Thai Son, Elena Nesterenko and Igor Lazko.
Amongst others, he regards conductor-pianist François Weigel, Eric Heidsieck (a student of the late Alfred Cortot) and the renowned pianist Ádám György as his mentors.
Congyu Wang is the Founder and Artistic Director of the Piano Island Festival based in Singapore.


LESZEK MOŽDŽER is among the most famous jazz musicians in Poland, although his fame has taken him around the world and going gold and platinum on many records.
He has been featured on over 100 albums, including 2011’s ‘Leszek Możdżer – Komeda’, a tribute to Poland’s best-known composer for the cinema. Leszek Możdżer began learning to play the piano when he was five years old. In 1996 he received a diploma from the Academy of Music in Gdańsk. He made his debut in 1991 as part of Emil Kowalski’s band. He is best-known for being part of one of the most important bands of the ’90s – Miłość.
Możdżer  developed an interest in jazz relatively late – at the age of eighteen, as he was finishing his secondary education. He gained his first jazz experience with Emil Kowalski, but the true start of his jazz adventure started from the first rehearsal with the group Miłość in 1991. In 1992-1996 he played with famous saxophone player Zbigniew Namysłowski. He also worked with many excellent musicians: Tomasz Stańko (1992), Buddy de Franco, David Friesen (1995), Archie Shepp, Michał Urbaniak, Adam Pierończyk (1996) and Arthur Blythe (1997).
That same year he received his first individual mention at the International Jazz Juniors ’92 Competition in Kraków. An avalanche of prizes followed: 1st place at the International Jazz Improvisation Contest in Katowice (1994); Fryderyk ’98 to the jazzman of year 1998; the Gdańsk Mayor Award for outstanding artistic achievement (1999); Ad Astra – the Minister of Culture and National Heritage Award to an outstanding young musician (2001); Polityka’s Passport award in the rock-pop-show business category for 2004.
He has been a member of other music groups, including Miłość and the Zbigniew Namysłowski Quartet and has recorded film soundtracks with the composer Zbigniew Preisner. He has been invited to play with other leading Polish jazzmen, such as Tomasz Stańko, Janusz Muniak, Michał Urbaniak, Piotr Wojtasik, and has played with Pat Metheny, Arthur Blythe, Buster Williams, Billy Harper, Joe Lovano, Archie Shepp, David Liebman and other jazz stars of world-wide renown.
His record Piano became a great jazz hit. His popularity grew further thanks to collaborations with the composer Zbigniew Preisner, which brought about such pieces as Requiem for my Friend (1998) and 10 łatwych utworów na fortepian / 10 Easy Pieces for Piano (1999).
He recorded five records under his own name, along with almost fifty collaborations, including Chopin – Impresje / Chopin – Impressions (1994) and Facing the Wind (1996) with American bassist David Friesen. Improvisations on the themes by Fryderyk Chopin reinforced Możdżer’s position as one of the greatest individualities and virtuosi of the European jazz scene. Of note is also his theatre music, including Hair – Love, Rock Musical for the Musical Theatre in Gdynia, Tango z Lady M. / Tango with Lady M. at the Polish Dance Theatre in Poznań, or Grzegorz Jarzyna’s staging of Sarah Kane’s Psychosis in Düsseldorf, Germany, in June 2002. Możdżer works regularly with Jan Kaczmarek, an L.A.-based composer in recording soundtracks for 20th Century Fox and Miramax.
Możdżer’s top achievement in the field of composition is music written for the world’s first trans-opera after William Shakespeare’s A Midsummer Night’s Dream, staged by Wojciech Kościelniak at the Musical Theatre in Gdynia and premiered in October 2001. Możdżer has performed all over Europe, the USA, Canada and South America.
In 2011 Germany’s ACT label released Leszek Mozdzer – Komeda, a collection of songs composed by the legendary film music composer Krzysztof Komeda link opens page in new window . The album includes songs from such films as Polański’s Rosemary’s Baby. Guardian reviewer John Fordam described the pianist’s style on the album as a combination of influences and originality, remarking that “Możdżer’s swaying swing and slow-melody nuances suggest Keith Jarrett at times, but his outbursts of percussive playing, flinty treble-note sparks and staccato drum-pattern sounds are all his own”.
Możdżer found a great deal of leg room in making the record, steeling himself up for several years before even getting into the studio. And then he allowed himself to bring his own style to the music, explaining that  ‘Komeda leaves so much freedom for the improvisational musician. If you look at the notes you can say that Komeda regards the interpreter as a partner. He trusts him and I can see that in the compositions’.
In 2011 he received such Frederick for best original soundtrack for the album, a collection of contemporary film music.




Dr IVANA MEDIĆ  is a Research Associate with the Institute of Musicology of the Serbian Academy of Sciences and Arts. She is Head of the international project Quantum Music funded by the EACEA within its programme Cultural Europe and Head of the Belgrade team of the trilateral project City Sonic Ecology – Urban Soundscapes of Bern, Ljubljana and Belgrade, funded by the Swiss National Science Foundation (SNSF) within its SCOPES programme. Furthermore, she is Head of the main project of the Institute of Musicology SASA Serbian Musical Identities Within Local and Global Frameworks: Traditions, Changes, Challenges, financed by the Serbian Ministry of Education and Science. She is a convener of the REEM Study group for Russian and East European Music with the British Association for Slavonic and East European Studies (BASEES). In 2012 she was elected a member of the Governing Board of Serbian Musicological Society. She is a member of RMA, IASPM, ICTM, ESEM, BASEES and other professional associations for traditional and contemporary music.
Ivana Medić has enjoyed a varied career as a researcher, lecturer, broadcaster and performer.

She graduated and obtained an MPhil Musicology from the Faculty of Music, University of Arts in Belgrade, funded by the Serbian Ministry of Science. Having started her teaching career at the Department for Music Theory at the Belgrade Faculty of Music in 1999, she went on to work in the media and prior to moving to the UK she held the position of a Music Editor and Coordinator of the International Exchange with the European Broadcasting Union at Radio Belgrade 3, Serbian Broadcasting Corporation. In 2010 she completed her Ph.D. at the University of Manchester, funded by the Overseas Research Award, Graduate Teaching Assistantship and School of Arts, Histories and Cultures Award. Her doctoral thesis, supervised by Prof. David Fanning, focused on Alfred Schnittke’s symphonies nos. 1-3 in the context of late Soviet music. Whilst in the UK, she also worked as an Associate Lecturer at the Open University.
Ivana Medić has written three books and over 50 articles, edited three collections of essays, and participated in numerous conferences. In 2017 she was appointed Editor-in-Chief of the peer-reviewed journal Musicology. Her research interests include Russian and Soviet music after World War II, contemporary Serbian and Balkan music, Darmstadt avant-garde, Stockhausen, Schnittke, Prokofiev, piano music and popular music.
She is also a multi-instrumentalist, specialising in contemporary music.


MARIJANA MILOŠEVIĆ SIMIĆ  is a graduated Music Pedagogue and an NLP Master. She is the author and implementer of accredited musical seminars and workshops in the field of musical culture and education for educators in preschools, teachers in primary and lower music schools, teachers in secondary schools and colleges and other staff employed in education in Serbia and Montenegro. The seminars has been approved by the Ministry of Education since 2010.  Author of 5 new accredited seminars in Serbia and 4 in Montenegro until 2019:

“Modern methods of studying music at different development stages of the child”
“Musical knowledge through play”
“Music games as part of growing up and learning”
“NTC and early music stimulation”
“NTC and developing creative and functional learning”

She is also a member of the expert team of Mensa’s NTC educational Programme. She is the author of Bim Bam Musical Workshop for Babies which conducts a programme of an early music stimulation starting from the sixth month till the age of three. She is the author of the book More Than Mere Music and a large number of different music games for early music stimulation and education. Marijana is the author of numerous workshops and lectures, as well as a participant in different conferences about gifted children, early music education and different types and methods of learning and teaching.
She was a programme director for the Music Art Project which is conducted by El Sistema in Serbia with a goal to engage as many children as possible into a free music education via group music making. She was editor in chief, assistant and journalist in Music Department in two National Broadcast Television.
Marijana is the author of numerous workshops intended for the personal development of parents and adults within HR Centre and association MY NLP.


Dr MARIJA RANDJELOVIĆ  is participant of many international and domestic scientific conferences and author of accredited seminars by the Ministry of Education of the Republic of Slovenia for the professional development of employees in education.
He is the author of several scientific studies in the field of pedagogy, which have been translated into several languages.
He received several awards and prizes at the local and republic level in the field of educational work and management.
She received her doctorate on the Principles of Educational Policy and the Improvement of Media Literacy for Students of Teachers’ Faculties in Serbia in the 21st Century.











DRAGOMIR BRATIC  started playing piano when he was 14. After finishing «Josip Slavenski« music school in class of professor Zlata Poparić he graduated from piano at Faculty of Music in Belgrade. At the same faculty he finished master for chamber music (piano duo) in classes of professor Ninoslаv Živković and professor Zorica Ćetković. He improved his music education at masterclasses with Arbo Valdma, Igor Lasko, Pavel Nersesjan.
At the moment he is finishing doctorate at Faculty of Music in Belgrade. He is a member of Association of Music art since 2005. He is a leader of administrative and organizative board of inetrnational competition for young pianists in Šabac. He is a director of national competition of Music and Ballet schools of Serbia. Dragomir Bratić is known as a most talented pedagogue of young generation. His approaching to the students is original.
Dragomir Bratić is the author and leader of the panel discussion on 17th international competition for young pianists in Šabac: “Evaluation principles on music competition – subjective or objective evaluation?” Until now his students have received more than 200 awards and special awards on national and international competitions in Italy, Slovenia, France, Bosia and Herzegovina, Romania, Sweden, Austria, USA, Czech Republic.
Dragomir Bratić has received many awards for his pedagogue work. Together with Milica Sekulić form a piano duo. As a duo they hold many concerts. In 2012 they performed in a Concert hall „ Kolarac“ in Belgrade. Dragomir Bratić has been a member of the jury of many national and international competitions in Italy, Czech Republic, Austria, Slovenia.
From 2015. is coordinator of the progamm Meeting the artist, at Belgrade Chopin Fest.