EDUCATION: Sedam sekretara SKOJ-a Elementary School, Music Elementary School Tuzla, Music High School Tuzla, Berufsfachschule für Musik Plattling, Thomasgymnasium zu Leipzig, Hochschule für Musik Franz Liszt Weimar – Piano [Gerlinde Otto, Lazar Berman], Kunstuniversität Graz – Composition, Music Theory, Music Theatre [Bernhard Lang, Klaus Lang]
WORKSHOPS* Darmstädter Ferienkurse [Rebecca Saunders, Brian Ferneyhough, Raphaël Cendo, Germáno Toro-Pérez], Akademie für Neue Musik – Meisterkurse an der Hochschule für Musik und Theater München [Wolfgang Rihm], Hochschule für Musik Franz Liszt Weimar [Michael Obst, Robin Minard, Albrecht von Massow, Reinhard Wolschina], Internationales Forum für professionelle Choreographinnen und Komponistinnen Reutlingen [James Sutherland, Elsa Genova]
RADIO PORTRAITS* Ö1 Zeit-Ton Porträt. Belma Beslic-Gál, Atelier für Neue Musik: Belma Beslic – Gál_Radio Feature, Part I, Atelier für Neue Musik: Belma Beslic – Gál_Radio Feature, Part II, Vom Nichts – Porträt Belma Bešlić-Gál | 09/03/2013_23:05 h | hr2-kultur, “The Artist’s Corner” | Gestaltung: Stefan Fricke, Ö1 Zeit-Ton, Querschnitte – Porträt Belma Bešlić-Gál | 01/03/2015 | RAI Südtirol | Gestaltung: Manuela Kerer, Ö1 Zeit-Ton | Styriarte 2015 – Gli Scherzi, Ö1 Zeit-Ton: Zeit-Ton extended, Ö1 Zeit-Ton: styriarte 2016. Große Töchter, Ö1 Zeit-Ton: IGNM @ prattica E: Elektronik und … (Teil 2)
SPRECHGOLD with Sylvia Wendrock: Ich will nicht schweigen [2024]
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[…] Modernist interventions in space have always searched for references; they have explored, discovered or failed to find commonalities. Belma Bešlić wants us to really immerse ourselves in today’s world, especially in a place like Radimlja, creating an ultra-modern context that suits Mak Dizdar, who was himself a modernist author. For Belma, his work is an open book, and she is an artist of ambience – an articulate and confident artist – which is especially important as she is an excellent composer. This alone is enough to convince us of her artistic idea that ambientity is one of the possible relevant paths to Mak Dizdar’s poetics. Belma Bešlić simply has the talent to penetrate the unconscious and the dreamlike and to find places of kinship with Mak Dizdar’s poetics. Therefore, it is possible that her Mak Dizdar – or Mak in her performance – is not loud, does not shout (as it used to be with Vojin Komadina and Jan Beran), but is reduced to a soft whisper or even murmur – almost to silence – which, as shown in Radimlja, is a very meaningful idea. […]
Nenad Rizvanović: Ambijentalno o Maku [Oslobođenje, August 15th 2024] | An Ambient Approach to Mak.pdf
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[…] The fascination of vastness, the unreachable and the spherical resonate in Bešlić-Gál´s compositions as she slowly creates iridescent “sound organisms” emerging from nothingness. Far from formal structures, the individual parts that merge into homogeneous sounds follow their own laws of continuous change and, with their course that neither begins nor ends, suspend the common sense of time. In these sources of inspiration, which lie beyond everyday perception, and the new world formed from them, there is also criticism of prevailing circumstances, such as that of the post-war societies of the Western Balkans. Her early career as a pianist also strengthened her “aversion” to the concert establishment and established performance practice. With interdisciplinary works that reinforced notions of the previously unheard expressed in music, she battles these conventions with subtle soundscapes. […]
Doris Weberberger [micaaustria]
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SPACE=WOW (BUT I STILL MISS YOU, EARTH) premiered on May 16, 2017, at the KULTUM, Kulturzentrum bei den Minoriten Graz is a commissioned work to the Austrian literati Christoph Szalay (*1987). Together, the artists developed a delicate fabric of text and sound, which chooses the Mars mission planned for the year 2035 as a starting point to address Planet Earth and its inhabitants. The performance space becomes a surreal place in which the hierarchy of the ensemble dissolves and instrumentalists, conductor and singer act as equal participants, travelling through space-time. Sound sources of all kinds are hidden and form a symbiosis with the space and the bodies being present, with language and with light. Thereby an organic unity of sound space, darkness and being emerges, which raises questions and stimulates reflection.
Elfriede Reissig, Composing Women | ‘Femininity’ and Views on Cultures, Gender and Music of Southeastern Europe since 1918, Vienna: Hollitzer Wissenschaftsverlag, 2022, S. 70.