Vladimir Tošić (1949, Serbia), composer, multimedia artist, full professor at the Faculty of Music in Belgrade. Tošić graduated at the same institution under the supervision of Vasilije Mokranjac. His works are regularly performed on Serbian and foreign concert stages and in festivals of contemporary music throughout the world: in Argentina, Austria, Belgium, Brazil, England, France, the Netherlands, Italy, Germany, Peru, Portugal, the United States, Scotland, Spain, Sweden, etc. Works by Vladimir Tošić have been released on multiple CDs in Serbia and the United States. Three of them are author CDs: Muzika za klavir (Piano Music, 2014), Melange (2000), and Muzika za male pijaniste (Music for Little Pianists, 2016). His piece Voxal won the first prize at Thomas Bloch Competition in Paris in 2000. Tošić also won third prize at the 2011 Gitarrentage für Kinder, a children’s guitar music competition held in Lebach, Germany, and the awarded piece was published by Chanterelle, a renowned publishing house based in Heidelberg. Tošić’s creative approach is based on a reductionist principle of music construction. All of his pieces are processual, repetitive, and based on a rather restrictive number of different elements, sometimes even just one (colour, rhythm, harmony…). His most important works include Varial, Dual, Trial, Voxal, Fisija (Fission), Fuzija (Fusion), Altus, and Medial, among others.
Motus, a duo for piano and orchestra, was written in 2009 at the initiative of my dear colleague Vladimir Cvijić, with whom I began collaborating, with much success, as early as 1993. He premièred the piece at the 2009 International Review of Composers, with the Symphony Orchestra of the Serbian Broadcasting Corporation, led by Maestro Bojan Suđić.
Since the piece met with a favourable reception, Vladimir soon suggested that I should write a second and third movement and thereby produce a concerto for piano and orchestra. That is how the second movement came to be, in 2015, and in 2016 the third as well.
“Motus 3”, the third movement of the concerto for piano and orchestra, was composed with elements from my Rondo for orchestra (2013). As already indicated by the title itself, the movement is basically a rondo with three subjects. This was the first time I used a traditional form, but it seemed possible because the rondo form already possesses a certain dose of repetitiveness, which is so typical of my work. Like all my works, this one, too, is processual and repetitive and belongs to my third creative phase (after 2010), which brought a new kind of communication to my oeuvre.