Mirjana Živković (Serbia) is a composer, music pedagogue, and theorist. She acquired her BA and MA degrees in composition at the Faculty of Music in Belgrade and then also studied with Nadia Boulanger and Olivier Messiaen in Paris. Between 1964 and 1976, she worked as a professor at Josip Slavenski School of Music in Belgrade. In 1976, she became an assistant professor at the Faculty of Music in Belgrade, and then an associate and full professor (she was Head of the Theory Department from 1998 to 2001). She has won a number of important awards: Belgrade Radio-television Award and Stevan Hristić Award in 1964 (for Sinfonia polifonica for symphony orchestra); first prize of the Con-servatoire at Fontainebleau, France, in 1968 (for Basma/Incantation, for voice and four timpani); a SOKOJ Award in 1982 (for Malo šaljive varijacije / Some-what Humorous Variations, for piano); first prize of the Composers’ As-sociation of Serbia in 1982 (for Domaće životinje / Domestic Animals, for chil-dren’s choir with piano); the golden plaque of the University of Arts in Belgrade for her work in teaching in 1997; and the Lifework Charter of the Union of Music and Ballet Teachers’ Associations of Serbia in 2004. Be-side a number of orchestral, concertante, and choral pieces, Živković’s compositional oeuvre comprises chamber works in various genres, performed in Serbia and abroad. Also, she has authored a large number of textbooks and music-theory studies, most notably concerning the work of Josip Slavenski, whose musical legacy preoccupied her for a number of years. In addition to her awarded pieces listed above, one should also mention her Koncertantne metamorfoze (Concertante Metamorphoses) for piano and orchestra; Adagio and Allegro for oboe and string orchestra; Dve romantične pesme (Two Ro-mantic Songs) for mezzo-soprano and chamber orchestra; Balada o polju (A Ballad about a Field) for violin and chamber orchestra; Agitato for violin and harp; Igra (Dance) for mezzo-soprano, flute, and percussion; two Ballads for piano; Letnja 26th International Review of Composers • Belgrade, 5–10. Octo-ber 2017 65 noć (A Summer’s Night) for accordion; Tri načina (Three Modes), a suite for flute and piano; several cycles of solo songs, etc.

In its integral version Koncertni diptih (Concert Diptych) had its première at a concert of my music in Banjaluka on 29 October 2017. The first movement was written in 2016 and premièred under the title of Koncertni stav (Konzertsatz) at the jubilee concert of the Ljubica Marić Orchestra on 26 January 2017 in Belgrade. It was inspired by the sound of string instruments in this orchestra.
The contents of the first movement of Concert Diptych comprise melodic intervals that make up a series of motives, at the same time falling into various sonorities. These chords, for the most part disso-nant, outweigh the less frequent consonant resting points. Especially promi-nent in the melodic flow of the piece is the solo violoncello melody.
The idea to develop those and related motives provoked me to compose the second movement, highlighting the solo violin and more concise imitative sections of individual groups of instruments.