The composer of Croatian origin Rudolf Brucci was born in 1917 in Zagreb. For this artist the musical career started out as a viola player in different orchestras ranging from cabaret ensembles to symphony orchestras. After his moving to Belgrade, Brucci as a thirty years old musician, rather lately, started to study composition as an only student of the probably most erudite Serbian composer ever, Petar Bingulac (himself a student of well known French composer Vincent D'Indy).
Later (in the period of 1954-1955) Brucci continued his studies with theViennese dodecaphonic composer Alfred Uhl.The definite turning point in the life of this composer was without any doubt the unexpected first pricein 1965 at the Queen Elisabeth's international composer's competition in Brussels where his Symphony Lesta was awarded with the first price.The concurrence was particularly tough as more than 250 composers applied from 26 countries.
In the seventies Brucci was personally responsible for the uprising of the Novi Sad Academy of Arts, with the finest musicdepartment in ex-Yugoslavia (even Alfred Schnittke signed the contract with that institution). As a musical organiser Brucci made a tremendous impact on the musical life of the city of Novi Sad establishing institutions as the new opera house, philharmonic and the music high school.In the centre of the compositional work of this composer almost always stood the full symphonic orchestra and he wrote his best pages for this
Beside the above mentioned Symphony Lesta his Third Symphony should be pointed out at the first place as his most likely best composition ever, followed by masterpieces as the symphonic poem Mascal, Metamorphoses B-A-C-H for strings, ballets Katharine Ismailova,The Demon of the Gold, Kirka, cantata Vojvodina and his two operas Prometheus and Gilgamesh. Brucci's musical language rooted deeply in the soil of the rich musical traditions of the music of Balkans in its broadest sense - from the unique Istrian scale system to be heard in the Third Symphony to the omnipresent Bulgarian rhythm structures in his symphonic poem Mascal. Next to this background, one can notice a successful fusion with the experiences of the achievements of new musical languages, with the special interest in dodecaphonic techniques as well as compositional techniques and aesthetics employed by the composers of New Polish School. In the same time,
Brucci in his compositions always stood out as a great connoisseur of the symphony orchestra and repeatedly gained high acknowledgements for his outstanding orchestrations. At the end of his life, which conformed to the outburst of the civil war, Brucci shared the destiny of many artists with mixed background. As a Croat composer in Vojvodina, at that time occupied by Milosevic's nationalistic forces,he was sitting in the middle of the nowhere and slowly but surely pushed out from the public life. In the last twenty years, Brucci abandoned from his environment, descended more and more in to the dark abyss of oblivion.
Rudolf Brucci died in Novi Sad on the 31th of October 2002 at the age of 85.