Janez Matičič's biography

JANEZ MATIČIČ was born on 3 June 1926 in Ljubljana. He graduated from the Ljubljana Academy of Music, where he studied composition under L. M. Škerjanc (1950) and conducting under Danilo Švara (1951). Having first entered the world of music by learning the violin, he was eventually won over by the piano. To this day, the instrument remains a loyal companion in his life both as a composer and as a performer. Until 1959 when he left for Paris, Matičič taught harmony, counterpoint and music analysis at the Conservatoire of Music and Ballet and piano at the Academy of Music in Ljubljana. His early compositions were influenced by the Classical period, Romanticism and Impressionism, while later, studying in Paris under the esteemed Nadia Boulanger, he turned towards contemporary trends in music. Matičič entered the world of electroacoustic music at its very source, joining the Groupe de Recherches Musicales under the direction of Pierre Schaeffer in 1962 and collaborating with them until 1975. Some of his electroacoustic pieces were created in other studios (Bourges, RTV Belgrade), producing fascinating compositions such as Trois Vision, Oscillations, Fusions and Cosmophonie for piano and magnetic tape.

Matičič has taught at various conservatoires in Paris and at the Department of Musicology of the Faculty of Arts in Ljubljana (1983-1986). Emotionally intense, technically honed and always inventive, his music clearly reflects these cosmopolitan influences. Matičič has always enriched his creative and teaching work with piano compositions; it is no surprise, then, that his opus of pieces for the piano is one of the most extensive and clearly defined in the history of Slovenian music, ranging from early Neo-romantic miniatures, suites and etudes to Neo-classicist and modern sonatas, as well as fascinating contemporary compositions (Palpitations, Intermittences, Resonances, Danses grotesques, the extensive Gemini for two pianos, Géodes for piano and percussion, etc.) and two piano concertos.

More recently, these were joined by Toccata – Fantasia, Sonata No. 4Chorals” for piano four hands, Ten Etudes Op. 66, and his latest work, the “Polynesia” Suite (2010).
Interestingly, Matičič has always been the best and most authentic interpreter of his own piano pieces, which explains his careful dedication to composing and his quest for the original piano phrase.

Among others, Matičič’s vast opus of instrumental works includes two symphonies and other concert pieces, as well as many chamber (works for violin and piano, string quartet, saxophone quartet, etc.), violin, and other solo compositions.

He has received a number of awards, including the prestigious Prince Rainier Award in Monaco for Sonata No. 1 (1962), the Mérite Culturel et Artistique in Paris for Synthéses (1969), a Radio Belgrade Award for Resonances (1966), a RTV Slovenia Award (1994), and the Bourges Award for the electroacoustic composition Formes (1980). In 1981, he won the Prešeren Fund Award for Concerto for Violin and Orchestra, and in 2007 he received the Prešeren Award for lifetime achievements. On 1 June 2007, he was appointed Full Member of the Slovenian Academy of Sciences and Arts, having been a Corresponding Member since 23 April 1987 and an Associate Member since 7 June 2001.


Symphony No. 1, Op. 21 (1950-1953), Ed. DSS 768
Trans… for symphony orchestra, Op. 56 (1997), Ed. DSS 1480
Symphony No. 2, Op. 58 (1999), Ed. DSS 1563
Vision for chorus and orchestra, Op. 19 (1950)
Artemis for symphony orchestra and chorus, Op. 69 (2012), Ed. DSS 2006

Concerto for Piano and Orchestra No. 1, Op. 36 (1965), Ed. DSS 845
Concerto for Violin and Orchestra, Op. 49 (1978/79), Ed. DSS 952
Concerto for Piano and Orchestra No. 2, Op. 52 (1985), Ed. DSS 1148
Concerto for Violoncello and Orchestra, Op. 61 (2003), Ed. DSS 1672

Three Pieces for violin and piano, Op. 17 (1949), Ed. DSS 340
Deux Poemes for viola and piano, Op. 18 (1949), Ed. DSS 705
Poeme Lyrique for violin and piano, Op. 22 (1952), Ed. DSS 809
Synthéses for violin and piano (Transparentes, Ostinato, Limpido), Op. 41 (1969), Ed. Hans Gerig, Cologne
Chants for solo violin, Op. 48 (1963, 1972, 1980), Ed. DSS 966
Four Lullabies for violin and piano, Op. 50 (1984), Ed. DSS 1222
Repliques for alto saxophone and piano, Op. 63 (2005), Ed. DSS 1800
Canto Rapsodico for clarinet and piano, Op. 64 (2005), Mc. DSS 171

Suite No. 1, Op. 7, Early works for piano (1945/46), Ed. DSS 51
Passacaglia, Op. 10, Early works for piano (1947), Mc. DSS 50
Capriccio, Op. 11, Early works for piano (1947), Ed. DSS 52
Preludes for piano, Op. 14 (1947), Ed. DSS 776
Three Compositions for piano, Op. 20 (1951), Ed. DSS 6
Nocturne for piano, Op. 23 (1952), Ed. DSS 678
Three Etudes for the left hand, Op. 25 (1956), Ed. DSS 100
Variations Miniatures, Op. 29 (1957), self-publishing 1958
12 Etudes for piano, Op. 30 (1958), Ed. DSS 430
Danses Grotesques, Op. 31 (1959), Ed. Amphion DA 181, Paris
Sonata No. 1 for piano, Op. 32 (1960), Ed. DSS 354
Suite No. 3 for piano, Op. 33 (1961), Ed. DSS 135
Resonances, Op. 34 (1963), Ed. Hans Gerig No. 825, Cologne
Intermittences for solo piano, Op. 38 (1967), Ed. DSS 471
Palpitations for piano, Op. 44 (1971), Ed. DSS 538
Gemini for two pianos, Op. 45 (1972-1973), Ed. DSS 1761
Suite No. 2 for piano, Op. 28 (1957, rev. 1984), Ed. DSS 1185
Sonata No. 2 for piano, Op. 53 (1988), Ed. DSS 1515
Toccata-Fantasia, Op. 59 (2000)
Sonata No. 3 for piano, Op. 55 (1993, rev. 2002), Ed. DSS 1661
10 Etudes for Piano, Op. 66 (1993-2014), Ed. DSS 2155
Soave for piano four hands (2003), Ed. DSS 1651
Sonata No. 4 “Chorals” for piano four hands, Op. 65 (2006), Ed. DSS 1651
Polynesia, Suite No. 4, Op. 67 (2010), Ed. DSS 2091
Dances for Piano, Op. 26(A) (1954-2013), Ed. DSS 2073

String Quartet, Op. 15 (1948-1949), Ed. DSS 1163
Suite for strings (1955), Ed. DSS 38
Ondulations for string quartet, Op. 35 (1963)
Osmose for marimba and vibraphone, Op. 54 (1992), Ed. DSS 1394
Géodes for piano and percussion, Op. 57 (1998), Ed. DSS 1633
Prologue for brass ensemble, Op. 60 (2002), Ed. DSS 1670
Memory for saxophone quartet, Op. 62 (2004), Mc. DSS 26

Oscillations for magnetic tape, Op. 37 (1966)
Strette, Op. 40 (1968)
Cosmophonie for piano and magnetic tape, Op. 42 (1970)
Formes, Op. 43 (J’ai vu les orgues dansantes sur les vagues – A’peine … – Né du tonerre) (1971)
Trois Visions, Op. 46 (Hypnos – Agora – Extasis) (1975)
Fusions, Op. 51 (1979)