Vladan Radovanović (1932, Serbia) studied composition in the class of Milenko Živković. He initiated the founding of Radio Belgrade Electronic Studio and was its director from 1972 to 1999. He founded the group Sintum in 1999.
Radovanović is active in multiple domains: in painting and computer graphics, vocal-instrumental and electro-acoustic music, literature, recording dreams, voco-visuel, tactilism, using the body in art, and synthetic art. He has authored over 250 theoretical writings about new tendencies in art. Radovanović has worked in studios in Warsaw, Paris, Utrecht, and Budapest. His works have been exhibited in 26 independent exhibitions in Serbia and abroad. Works by Radovanović represented Yugoslavia three times in festivals organised by the International Society for Contemporary Music. He has published 11 books, two maps, six scores, three author LPs, two tapes, and five author CDs. Radovanović has won 11 awards for his music (three first prizes in Yugoslav Music on Radio competitions, an October Award in 1971, a second prize for electronic music in Bourges in 1979, the Gianfranco Zafrani Award at Prix Italia in 1984, first prize at the 1998 Composers’ Forum in Belgrade, and the 2014 Stevan Mokranjac Award), three awards for literature (most notably the Nolit Award in 1968), and eight for his works in the visual arts (the first prize of the Ministry of Culture for the best exhibition of 1992, first prize for a video work in São Paulo in 1997, first prize of the City of Belgrade for the best work in visual art in 2007, and Ivan Tabaković and Mića Popović Awards for 2008 and 2012, respectively).
Radovanović is a member of the Composers’ Association of Serbia and the Association of Fine Artists of Serbia. Between 2001 and 2012 he taught as a professor at the Multimedia Study Group of the University of Arts in Belgrade. In 2005 and 2007, respectively, he received honorary doctorates from the Columbus University, Ohio, and the University of Arts in Belgrade.
Suite for Violoncello and Piano (1952–53) – With this Suite and before it, with the Suite for Flute and Piano and the Suite for Bassoon and Piano and simultaneously with the Sonata for Two Pianos, Celesta, and Percussion, I began to define my own style within the bounds of modernism. Deciding between the structural poles of homophony and polyphony, I positioned myself closer to polyphony, which, however, in my work never turns into (textbook) counterpoint. In forming sonorities as well as in shaping melodies, the tritone played an increasingly prominent role. The rhythm, rooted in poly-metre, is asymmetric, without conspicuous repetition. Of the three movements, the first two are tripartite, while the reprise in the second movement is shortened, out of regard for the perspective of time relative to the exposition of the opening part. The third movement is actually in one part, with a short introduction and coda. The second movement already contains hints of belonging to the ‘cosmic tribe’, which I adopted as my personal position eight years later, in my teaching on the spectrum of sound.