In the very beginning, back in 1991, it all started modestly – just a concert of double bass students from the class of Professor Nebojša Ignjatović, whose assistant I was at the time. There were no big plans or visions, only the desire to give the students of the Faculty of Music in Belgrade — and perhaps a few guests — a chance to perform solo, meet each other, and compare their progress. The name Bassomania didn’t even exist yet — it came later.

Since the double bass community is generally close-knit, professors from other schools soon began contacting us, eager to include their students as well. Apart from one year, Bassomania has been held every December, constantly growing in the number of participants. We often had to organize more concerts so everyone could perform. From the start, the goal was clear — to present the finest and most dedicated students and teachers, and to make space for nearly the entire solo repertoire for double bass. Over time, this evolved into a true festival of the double bass and double bassists.

Although most of the repertoire performed was classical, written for different levels, we were never stylistically limited — jazz pieces also found their place, adding a special flavor to every edition. Soon, the idea arose to invite guest professors to hold lectures and masterclasses, thanks to our contacts with distinguished double bassists from across Europe and beyond. It was something I personally dreamed of as a student — to meet great professors in Belgrade, have lessons with them, and test my level of playing, instead of having to travel abroad at great expense.

Throughout the years, Bassomania has hosted a remarkable lineup of world-renowned professors and performers: Alberto Bocini (Conservatoire de Genève), Josef Niederhammer (University of Music and Performing Arts Vienna), Zoran Marković (Academy of Music Ljubljana), Mario Ivelja (Academy of Music Zagreb), Petru Iuga (University of Music Mannheim / Lausanne), Ljubinko Lazić (Academy of Arts Niš), Roman Patkol (University of Music Basel), Rick Stotijn (Robert Schumann Hochschule Düsseldorf), Ivan Kitanović (Vienna Symphony Orchestra), Todor Marković (NDR Elbphilharmonie Orchestra Hamburg), and Dominik Wagner (University of Music Vienna). Twice we also welcomed Đorđe Stijepović, a former FMU student who now lives in the United States and is widely recognized as one of the world’s leading double bassists, known for his extraordinary percussive slap technique.

Concerts have been held in major venues such as the Great Hall of the Faculty of Music, the Student Cultural Center, the Christian Adventist Church in Belgrade, and the Guarnerius Fine Arts Center. We owe deep gratitude to these institutions for their long-standing support.

At first, I didn’t fully realize how much Bassomania meant to the young musicians gathered around it. Yet former students often told me that the festival date marked a “red-letter day” in their musical calendars — and indeed, it still does. Over time, Bassomania became a regional event, attracting participants from Zagreb, Ljubljana, Sarajevo, Banja Luka, Podgorica, and Sofia. Sometimes we received support from the Ministry of Culture, the City Assembly of Belgrade, and SOKOJ — and sometimes we didn’t. But one thing was certain: the Faculty of Music always recognized Bassomania as a valuable and authentic artistic platform.

Now, more than thirty years later, the festival continues in full momentum. From a small internal gathering, Bassomania has grown into an internationally recognized festival where leading world double bassists gladly appear as guest lecturers and performers. Each visit brought new energy, ideas, and pedagogical approaches — proof that progress can be achieved through diverse paths, yet with the same goals: knowledge, advancement, interpretation, and professionalism.

One of the festival’s great values lies in the fact that high-quality artistic and pedagogical exchange is freely available to everyone — students, teachers, and the public alike. What could be better than bringing top professors and performers to your own city, organizing outstanding concerts and masterclasses that are open to all? Live interaction — the direct transmission of knowledge and inspiration — cannot be replaced by online encounters. Bassomania thrives on that living exchange, the same principle that lies at the foundation of all music schools and academies.

Perhaps the next step will be to create an international double bass competition with a global jury. That would require courage and significant support — but the idea is alive.

It is a rare thing for anything in Serbia to last thirty years, especially in the field of classical music. Yet enthusiasm, perseverance, and faith in young talent have kept Bassomania alive. The festival promotes not only the double bass as an instrument but also the dedicated musicians who study, perform, and teach it. It shines a light on them, nurturing their growth and presenting them to the public.

Bassomania also promotes culture in the broader sense of the word — derived from the verb to cultivate. We cultivate love for music, for performance, and for artistic expression. Through these efforts, Bassomania has grown into one of Serbia’s most meaningful and enduring artistic traditions — a festival that unites generations of musicians, inspires excellence, and celebrates the beauty of sound and human connection.