Pianist Maja Alvanović was born in Belgrade in 1974. She is teaching complementary piano at Academy of Arts, University of Novi Sad (Serbia), where she completed piano studies in the class of pianists Kemal Gekić and Alan Fraser, in 2000.
During her studies, she won several first prizes as a member of piano duo “Paganini” at national competitions. Also as a soloist, she won third prize at First EPTA competition dedicated to Schubert, held in Belgrade in 1997.
She is experienced in performing with different chamber ensembles, and has performed as collaborative pianist with many vocal and instrumental soloists (strings, winds, brass, percussion). From 2000 -2008. she was employed as collaborative pianist at Academy of Arts, University of Novi Sad.
She has rich teaching experience with students of different ages. During her three year engagement in Music school Novi Knezevac her students (age 6-14) had won 23 prizes at national competitions and festivals in Serbia.
Nowdays, at the Academy of Arts she is teaching complementary piano and is actively involved in the creative mission of the Department whose motto is “Not the outcome of the experience, but the experience itself as a goal.” The aim of this specific curriculum is to enable students specializing in non-performing disciplines to gain abundant on-stage experience by participating in various competitions and thematic concerts within the department.
She was a member of baroque trio Tres pro Musica, with cellist Tibor Hartig and also a member of piano duo Majrina established in 2004. with pianist Irina Mitrovic. They were mostly dedicated to contemporary music and were therefore supported by Vojvodina Composers Society. In 2014. they published CD album Tangomania (2014) – with tango nuevo music for two pianos of Argentinian composers Pablo Ziegler and Astor Piazzolla .
Along with the academic career and classical music as her principal subject of interest, in 2007. she dove into new music within Agora ensemble dedicated to performance of Portuguese fado. It was a sort of a turnover path to more daring approach, improvisational, spontaneous, authoristic way of music expression.