MULTISTYLISM could be a rough term used to determine Boris KOVAC’s composition profile, which is not suited to fill any conventional pigeonholes. His music reflects a thorough knowledge of the European chamber music tradition; on the one hand it could (conditionally) be categorized among lyrical sentiments of traditional sound worlds (not only of Pannonian ethnic music but also of a “planetary human spirit”) and sacred ritual sound festivities, and, on the other hand, it adopted some experiences of jazz, avantgarde rock and improvised music. Among the younger generation composers that we have had the opportunity to hear in the last several years there are indeed very few who have introduced so much freshness into contemporary music as Boris KOVAC has done.
