“…We do not hesitate to qualify his piece top level in contemporary compositions for guitar: we, in fact, do not know any composer for guitar in the XXth century who can be compared to him.”
Il Fronimo, Italy, 1985

“Dusan Bogdanovic is a composer of masterful craft with a genuine clarity and purity of vision. His music is distinct to the extent that it would be nearly impossible to mistake it for another’s- and he happens to play the guitar… The opening piece, titled Crow, is a ballet-poem scored for tenor, flute, double bass, and guitar. It was commissioned by the Pacific Dance Company in 1990, and included nine dancers. Bogdanovic’s setting of Ted Hughes’ poetry is as powerful as it is challenging. A score that balances tension and rhythmic energy with moments of serene beauty, ever present is the silken smoothness that characterizes Bogdanovic’s music… The Gruber/Maklar Duo should be commended for a performance that is nothing short of astounding. Bogdanovic should be congratulated for writing what may be the finest piece of contemporary music for two guitars… The back cover of this disc states “Dusan Bogdanovic proves again to be one of the true originals of the guitar. His music shows a complete mastery of ethnic folk, jazz, and classical traditions.” While every bit of that statement is true, what this recording really demonstrates is the work of a composer who not only has rich experience with many kinds of music but who has cultivated his musical experience and reveals it by means of a truly individual, and exceptionally powerful voice.”
Guitar Review, USA, 2002

“…Bogdanovic’s playing simply acts as a vehicle for his luminous, multicultural compositions. But what playing! Wielding a solo classical guitar, Dusan handles tricky polymeters, Balkan melodies, startling counterpoint, and oud- inspired improvised lines with nuance and sinewy grace. The depth of ideas and clarity of his playing borders on spooky. If you love guitar, you must investigate this jewel.”
Guitar Player, USA, 1996

“…Classically trained European guitarist makes his debut a stunning acoustic date with flutist James Newton and Charlie Haden’s sonorous bass. Superb, distinctive chamber jazz.”
Billboard, USA, 1984

“…As one would expect, this maverick presents himself here as a musical world-builder. He is at home in the most diverse ethnic milieus, which are perfectly matched by his musical knowledge…Dusan Bogdanovic is a composer with an exuberant creativity and great power of originality.”
Gitarre & Laute, Germany, 1999

“…Dusan Bogdanovic continues to prove himself to be one of the true originals of the guitar. His unique vision is born of his trans- Atlantic experiences seasoned with a complete mastery of ethnic folk, jazz & classical traditions, making this music rich in complexity and meaning. He has much to say, handling the large sonata structures as effortlessly as the slight miniature Secrets, and he does so with authority, wit and humor. To enter his world is to know delight, and this new collection is a veritable treasure chest, brimming with rare and exotic jewels: don’t miss it.”
Soundboard, USA, 1996

“Bogdanovic grippingly unlocks the bleak imagery of Hughes in an exotic genre that Emma Martinez Hockley succinctly describes as ‘Balkan blues’. Although music and literature tend to mix best when the latter is recited rather than sung, here is a major integrated setting that succeeds on all levels… Throughout the proceedings, there can be no doubt that we are in the presence of a world ranking guitarist/composer who excels equally in both roles.”
Classical Guitar Magazine, Great Britain, 2001

“…His piece (Sonata Fantasia) is composed of the most diverse elements; Bogdanovic casts new substance into baroque or romantic molds. He combines jazz and African rhythm with pentatonicism and elements of Indian music. He takes advantage of percussive effects. He uses technical tricks known to electric guitar players. His biting harmonies frequently clash to the breaking point. This buoyant and confounding sonata emerges from compositional quarry and forms a balanced whole when musicians like Gruber and Maklar are at work. The two artists accompanied their audience through the mysteriously shining piece like experienced navigators and presented the sonata with sharp contrasts; an interpretation full of poetry, pep and extremes.”
Suddeutsche Zeitung, Germany, 1996

“…Bogdanovic’s unique, gentle compositions intermingle jazz, ethnic music, and good old counterpoint in a technical rigor that often gives Brouwer a run for his money (he studied composition, after all with Ginastera). Even at its most complicated, however, there is unhurriedness to Bogdanovic’s music. African and Balkan rhythms may give the pieces momentum, yet minute, Satie- like gestures cut to the music’s emotional core, as do the philosophical strains of Zen and Tao.”
American Record Guide, USA, 1996

“…Profoundly original, the personality of Bogdanovic dares to re- read the classics of the repertoire. It is simply that the palette of Bogdanovic is immense: with colors, timbres, energies, nuances. Between the rustle of silk paper and the burst of machine gun, he knows how to do justice to the orchestral vocation of the guitar without taking away its intimate dimension of shared soliloquy.”
Tribune de Geneve, Switzerland, 1984

“…This may be a new type of music exceeding all genres…it is wonderful.”
Record Geijutsu, Japan, 1990

“…(Jazz Sonatina) Of line unique to Dusan. For those of you who understand its intricacies and subtleties, this is just out of this world, but requires a delicate performance tecnique and one cannot expect to catch public fancy. Perhaps the blood of his native country which exists behind his refined compositional technique may account for this? Recommended, of course, for all Dusan freaks.”
Gendai Guitar Magazine, Japan, 1996

“…There is also another sterling work, Dusan Bogdanovic’s Blues with Seven Variations, virtuosic writing of a kind few guitar composers seem willing to attempt nowadays. There is any number of amusing allusions – you’ll recognize Gershwin’s Summertime, Sor’s Mozart Variations, a bit of Morel, and more. It must be the wittiest piece of contemporary guitar music since Koshkin’s The Prince’s Toys, and is a sheer delight to listen to. Bogdanovic’s palpable talent for composition contains that very rare ingredient, brilliance.”
Classical Guitar Magazine, Great Britain, 1990

“…Bogdanovic also premiered his “Trio”, a fascinating assimilation of Western and Eastern languages that uses short statements, repeated with subtle embellishments, to preserve unity. Two of the players produced gamelan-like sounds by placing small staples on their strings. Surging static passages by the trio achieved the same effect as electric guitarist Robert Fripp’s tape loop experiments, without needing to be plugged in.”
The Washington Post, USA, 1989

“…(Jazz Sonata) There are evocations of the late jazz pianist Bill Evans’ introspective style with snatches of serialism. The relentless, haunting melodies embrace popish tunes, while the repetitive and simple folk-like modulations become hypnotic. The end result is a successful collage of fast and slow rhythms, full of beautiful sonorous sounds juxtaposed with prickly chords. Bogdanovic proves himself an able composer, an imaginative experimenter and a sensitive artist.”
The Los Angeles Times, USA, 1984

“…(Counterpoint for Guitar with Improvisation in the Renaissance Style and Study in Motivic Metamorphosis) Chapters on counterpoint offer excellent descriptions and musical examples explaining species counterpoint in two and three voices. The descriptions of cadences and canonic technique are supported with practical exercises. Notably, the short chapter on imitation is summed up by a brilliant analysis of the imitation technique of Francesco Canova da Milano describing the modal and non-modal harmonic plan of the given fantasia…My recommendation is that any serious guitarist/teacher/performer/composer with an academic interest in teaching counterpoint should have this book as an important reference or method. After reading and playing through this treatise one is left with the impression that Bogdanovic is an intelligent and creative musician trying to verse the guitarist in the use of learned counterpoint, but with reference to the guitarist’s literature, not that of the vocal or keyboard tradition (though these traditions are very important). The only question I am left with at the end of this tome is “why wasn’t this done before?”
Classical Guitar Magazine, Great Britain, 1997

“…Leo Brouwer and Dusan Bogdanovic are inarguably two of the most important classical guitar composers of the twentieth and twenty-first centuries. Perhaps more so than any other composers of our time, Bogdanovic and Brouwer produce pieces of consistent quality while continuing to explore and expand their unique voices.”
Guitar Review, USA, 2003