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Amra Bosnić

(b Kuršumlija, Serbia, 1966). Bosnian and Herzegovinian composer. She graduated with a degree in composition from the Academy of Music in Sarajevo (1991), in the class of josip magdić, after which she gained the Master of Composition (2004) under the mentorship of composer dejan despić. Her first position was at the Srednja muzička škola (‘music high school’) in Valjevo, Serbia (1992–2000). She returned to Eastern Sarajevo, Bosnia and Herzegovina, to work as an Associate Professor of Harmony and Harmonic Analysis.

Dutina’s compositions reflect her interest in Balkan folklore, mostly of a rural-vocal type, and in the formal and harmonic devices associated with neoclassicism. She has composed solo songs, chamber music, symphonic works, vocal-instrumental music, choral music, music for children, and film music.

Dutina also cherishes folkloric vocal traditions through her engagement as founder and artistic director of the female vocal ensembles Rusalke (...

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Donna Arnold

(b Makaryev, Kostroma Province, Russia, 20 March/1 April 1896; d Lakewood, NJ, 9 Oct 1985). Russian émigré choral conductor, founder of the Don Cossack Choir. He studied at Moscow’s Synodal School of Church Singing, and afterwards joined a Don Cossack regiment in the Russian Civil War. Defeated by Bolsheviks and exiled from Russia in 1920, his regiment was interned at a miserable camp near Istanbul. Ordered to found a choir to raise morale, he arranged repertoire from memory and, remarkably, transformed 36 amateur singers into a world-class ensemble. Once liberated, the Don Cossack Choir began a high-profile international career that spanned six decades.

Its concerts, sung in Russian, comprised Russian Orthodox liturgical works and folk, traditional, and soldier songs. Jaroff arranged most of the music. Conducting with minimal hand movements and penetrating facial expressions, he evoked extremely expressive rubatos and dynamic changes that enthralled audiences. The Don Cossacks were particularly renowned for their brilliant technique and superb octavists (whose vocal range extended to an octave below the bass) and falsettists. Jaroff’s unusual inclusion of falsettists was crucial to the choir’s compelling signature sonority and made mixed-choir masterpieces from the Russian canon feasible. Extra-musical factors, especially the very short Jaroff’s strict control of his Cossack giants, fascinated and delighted their fans....