Lazar Đorđević (1992, Serbia) completed his BA and MA studies at the Faculty of Music in Belgrade in the class of Prof. Zoran Erić. He is currently a doctoral can-didate in the same class.
Đorđević attended composition workshops in Sarajevo, Ljubljana, and Mürz-zuschlag, 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 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 Competi-tion 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 orchestra-tions of works by other composers have also been performed.
Lazar Đorđević is currently employed as a teaching assistant at the Faculty of Music in Belgrade.

Kvazi sonata (Quasi-sonata) was written in collaboration with the exceptional young violoncellist Nemanja Stanković. The au-thor’s explorations in the domain of sound and extended performing techniques involving classical instruments have spawned a peculiar musical poetics supplying a wide range of new types of sound. The work’s title itself, Kvazi sonata, stems from the formal procedures Đorđević used, the contours of which approximate the general characteristics of a sonata cycle in a single movement. One might say that the piece constitutes a blend of traditional formal procedures and new means of expression.