Program:
Vojislav Ivanović
Café No. 2
Heitor Villa-Lobos
Prelúdios (5) for guitar
Prelude No. 1 in E minor – Andantino espressivo (Melodia lirica)
Prelude No. 2 in E major – Andantino (Melodia capadocia)
Prelude No. 3 in A minor – Andante (Bachiana)
Prelude No. 4 in E minor – Lento (Homenaje a los indios)
Prelude No. 5 in D major – Poco animato (Vals lento)
Màximo Diego Pujol
Historias sin palabras (excerpt)
II La Rosa Eterna
V Los Sueños Reales Son
Emilio Pujol
Guajira
Sergio Assad
Valseana
Roland Dyens
Felicidade
Biography:
The sound of the guitar in the hands of Amalia Miler shapes the space between tradition and contemporary expression. From her earliest performances, she has directed her focus toward music that seeks new interpretations and collaboration with living composers. Her artistic path includes solo concerts across Serbia and abroad, as well as close collaborations with composers who have dedicated works to her – among them Belinda Reynolds with the piece Push.
At the Guitar Art Festival in Belgrade, she presented the Serbian premiere of Nikita Koshkin’s concerto Megaron, while in the festival’s 25th jubilee season she gave the world premiere of a work by Leo Brouwer. These moments represent milestones in her career, opening a space where audiences encounter new music for the first time through her performances.
Miler has also performed as a soloist with orchestra, interpreting Rodrigo’s Concierto de Aranjuez at the Kolarac Foundation in Belgrade and the Synagogue in Novi Sad, under the baton of conductor Predrag Gosta. In chamber settings, she collaborated with flutist Vesna Mitar in cycles dedicated to contemporary repertoire, as well as with Serbian composer Damjan Jovičin on a series of premieres.
Her approach to the instrument is often described as a blend of virtuosity and subtle expressiveness, but above all as a way of understanding music as an event in the making – a moment taking shape for the very first time before the audience.