Lazar Đorđević

Lazar Đorđević (1992, Kragujevac) completed his BA and MA studies at the Faculty of Music in Belgrade in 2015, in the class of Prof. Zoran Erić. He is currently a doctoral candidate in the same class.
Đorđević attended composition workshops in Sarajevo, Ljubljana, and Mürzzuschlag, with composers Peter Ablinger, Vinko Globokar, Sidney Corbett, Stephen McNeff, Johannes Kretz, and Yann Robin.
His piece Jednom sam negde čuo… (I Once Heard, Somewhere…) won first prize at the New Serbian Accordion Music competition, organised under the auspices of the 2016 Eufonija International Accordion and Chamber Music Festival. His Reminiscence for symphony orchestra was awarded by the Stevan Hristić Fund in 2017 and the same year his work Memoria in Aeterna, the first concerto for accordion and orchestra written by a Serbian composer, won an award from the Josip Slavenski Fund. Also in 2017, the Composers Competition of the Music Production of the Serbian Broadcasting Corporation selected Reminiscence for a recording or public performance.
Works by Đorđević have been performed in Belgrade, Novi Sad, Kragujevac, Sarajevo, Mürzzuschlag… He has also composed music for children’s theatre plays and films. Apart from Đorđević’s own works, his orchestrations of works by other composers have also been performed.

Jednom sam negde čuo…(I Once Heard, Somewhere…) was originally composed in 2014 for piano, clarinet, and string quartet. The version for accordion, clarinet, and string quartet was written in 2016 in collaboration with Darko Dimitrijević, a young aspiring accordionist.
The work’s title refers to a couple of motives I once heard somewhere, which have grown, over time, into independent musical motives. The first motive, appearing in the accordion part in the opening bars, represents a long-faded memory. The second motive represents a distorted memory of a certain melodic turn from Richard Wagner’s Prelude to Tristan und Isolde. These two motives constitute the foundation upon which the work’s entire subsequent musical flow is constructed. In formal terms, the piece consists of six wholes. Each whole is based on a certain principle of the constitution of musical flow (A – progression; B – contrast; C – quasi-soloist cadence; D – variation principle; E – stasis; F – timbre).