GUITARIST | COMPOSER | PRODUCER
Once upon a time, the aspiring actors aided by former Minister of Culture, have put an iceberg on the Canoe of the free Master ... From the depths of dirtly fairy tale, now truly comes through the song retuned by Him...
Undaunted, Bogion was played surprisingly expressive on his guitar. Inspired by the people and events he remembers, he creates an informal art that results in a unique musical experiment: the unprecedented fusion of Eastern an Western sounds of Bogion's tonal insights.
Bogion Amo is the author of several concert instrumental programs. He has composed over 400 compositions for solo guitar and virtual orchestra.
Expect him live.
Bogion AMO - guitarist, composer, producer.
In his mature playing years, he reveals his solo essence. As we enter the new millennium, he emerges from the daily routine of club gigs. He created a concert repertoire perfecting the fingerstyle technique, an advanced technique of engaging all fingers of both hands. Simultaneously playing the melody and accompaniment, taking over the sections of at least two or more instruments, he still reveals new secrets that his guitar is strangely hiding.
Bogion designs his art with an authentic expression of many years of practice. He presents his creative work in a manner worthy of the highest artistic aspirations.
Bogion Amo (born as Bogoljub Nikolic, 1965. in Kragujevac, Serbia) ran guitar early, on hearing, without the help of a teacher. Already at the age of 11 he is moving to gain professional practice. He goes to paid gigs with Gipsy musicians of world music.
Playing the music people wanted to hear earned a living, and at the same time perfected the hearing and technique of playing. Throughout the day, he practiced musical vocabulary with classical music, and in the evening played the hits of commercial genres. In live gigs he gained experience of a band musician of a wide repertoire of traditional Balkan and modern Western music. He spent three decades with the music of world metropolis receiving the influence of different cultural environments. In his mature years he reveals his solo essence.
By entering the new millennium, Bogion begins to change his musical perceptions. The need to return to the authentic sound of an acoustic guitar led him to meet again with himself. 2012 is re-established at the very beginning of music. He is starting to build a solo concert repertoire, modeled to the greatest solo guitarist of today.
Bogion Amo interprets his art with multi-genre fingerstyle acoustic expression. He created five solo concerts of authorial instrumental music. His creativity concerts to music lovers in a way worthy of the highest artistic ambitions.
The Facts of Artistry
Music as a higher form of the communication belongs equally to the creator and listener, with the fact that the former has an obligatory impulse to justify the trust and present the gift of love given by the God, while the later it can hear that but it doesn't need to hear it. What will happen depends on the circumstances, coincidences but also on the certainty. Some creators fulfil their task very early, conscientiously and on time, without thinking on the size or importance of the artistic mission, and some of them just partially or never, being occupied with the life's beauty or vices. In this way everyone has its own way, his beginning and ending, his failure and success. The rare are rewarded by the mentioning epochs. As long as there exist the belief that not everything artistic has yet been mentioned, that there is always something new to be said, it is not possible to mark with more intense emotion the points of the emerging shape if our spirit hasn't stepped in the imagination before and after the existing moment. Formally, the process takes the shape of the assigned player, with the walk by the beat of the soul's dictation and vibrating line of the first creator. Then it's not important anymore who's singin'over there. This transition from inaudible-possible into musically conscious is of aesthetically changing and playful spirit in the present over-perceptible moment. The sound images we don't see today remain the incentive for the future courage people.
Artistic analysis of the shaped theme, it represents the local flavour of the past times in this upcoming moment. I 'm not saying one doesn't need to feat through the musical heritage, on the contrary. It is necessary to run through the corridors of memories, since we find in them the answers to the questions of universal state of the spirit, whatever the time we belong to. There we will encounter the big and little, but grown-up in spirit. In this way we get to know ourselves faster on the individual pathway of the meaning. Musically universal, civilisationally inherited, at first hand.
Musical harmony at this time, if it doesn't contain the elements of harmony from the old masters, in the vocational sense, is not worth criticism or the place in the temple of music. However, today's business industry imposes music-macro-taste, neglecting the fact how the things have begun. Is that the need to intentionally misunderstand or bypass something, it will be understood the best when the divine sounds of the few replace the geopolitical sounds of the swirling masses. From historical perspective with those pictures in the present, we are waiting the society from the future. The modern world in music sense is more and more detuned and spiritually crippled. There is an insatiable need to compensate with the rhythm the absence of the melody, harmony and shape. When the musically necessary is absent, interior surrogates of the subjective worlds imitate by the value objective emptiness of the flat line impulse.