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Yugoslav-Soviet Union relations from the 1950s to 1970s …
Karakaš (1930–2014) from the Composers’ Association of Serbia, Toma
Prošev (1931–1996) from the Macedonian Composers’ Association, Zlatko
Pibernek (1926–2010) and musicologist Cvjetko Rihtman (1902–1989) from
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the Union of composers of Bosnia and Herzegovina.
Russian artists also appeared in a number of other formal events, like
the prestigious Belgrade Music Festival (BEMUS), and performed works of
domestic authors. In 1971, for instance, the State Symphony Orchestra of
the USSR, with the conductor Yevgeny Svetlanov, performed in Belgrade.
On this occasion, SAKOJ conferred awards upon the most distinguished
performers, among them a Soviet string quartet, which was honored for its
notable interpretation of Mihailo Vukdragović’s String Quartet in A minor
(1944). 45
One of the most important visits by a Soviet composer was that of
Dmitry Shostakovich in 1964. Shostakovich visited Belgrade before trav-
eling to Zagreb, where on January 7 he attended a performance of his op-
era Lady Macbeth of Mtsensk, Op. 29 (1934; revised as Katerina Izmailova
in 1962), staged by the Zagreb Opera. On this occasion, he was welcomed in
Belgrade by Voki Kostić on behalf of the SAKOJ. As we can find out from
the Bulletin, he had the opportunity to listen to recordings of compositions
by Yugoslav composers on magnetic tapes in the premises of the Union.
A special impression was made on him by Songs of Space (Pesme prostora,
46
1956) by composer Ljubica Marić (1909–2003). Organized by the Union of
Yugoslav Composers and mediated by the local Composers’ Association of
Serbia, he also met with composition students in Belgrade, about whom he
spoke positively at the improvised press conference held at the “Metropol”
Hotel. When asked by journalists whether he was familiar with Yugoslav
music, he replied that he already knew certain works by Yugoslav compos-
ers, either from concert performances or radio broadcasts, thus indicating
that Yugoslav compositions were present on the Soviet musical scene. Al-
47
ready after the premiere in Zagreb, Shostakovich also expressed the opin-
ion that “it is necessary to work more and more deliberately on the mutual
48
promotion of musical creativity between our two countries.”
44 “Saradnja s inostranim savezima kompozitora,” Bilten saveza kompozitora Jugoslavi-
je, no. 1 (January 1971): 4.
45 Anon., “Večeras počinje Bemus 71,” Borba, 7 October, 1971, 8.
46 “Vesti iz Saveza,” Bilten saveza kompozitora Jugoslavije, no. 1 (January 1964): 2.
47 Anon., “Dmitrij Šostakovič doputovao u Beograd,” Borba, 1 January, 1964, 7.
48 Anon., “Pomodarska strujanja u muzici nemaju budućnost,” Borba, 9 January, 1964,
7. See also: Ž. B., “Šostakovič želi prisnije poznanstvo sa jugoslovenskom muzikom,”

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