original title:  Valcer (D9-G9)/ Valcer

...Waltz as a document of the "disintegration aesthetics", which, drastically combined through tradition, also relies on the "objectivity aesthetics" (Stravinsky's neoclacissism is the ground, launching Kuljeric's Waltz into the unknown, which is so unknown that one can hardly discern a waltz!)...An eye-catching feature of Waltz is a relation between compositional-technical procedures and the sonority determined by the line-up. The composer himself defines the compositional-technical procedures as a shift of the "known" and "exhausted" cores of sound associations into "different" spatial relations and contexts. (from a comment on the premiere at the 1989 Biennale)

His Valcer (2004) - an arrangement of his 1989 Valcer (D9-G9) - provides an excellent example of an imagination that stretches the boundaries of the waltz as traditionally conceived, yet carefully preserves a fragility which allows it to be identified as such. Its emotional impact and power of expression go beyond that of a miniature, although the composer has, on a formal level, obeyed certain rules which maintain the structure of the whole. In Kuljerić's Waltz there is neither joy nor sorrow, with the composer's highly individual style controlling the work's parameters and organizing all their interrelationships. (Zlatko Madžar, from the cd booklet)