Aleksandar Obradović

His paintings, conceived predominantly in watercolor technique were displayed at one individual and several group exhibitions, the former entitled Color, Sound, Word (Kolarac University, Belgrade, November 27, 1997).

As a music writer and critic he published articles in Politika, Borba, and Literary magazine (Književne novine), and periodicals Pro musica and The Sound (Zvuk).

He composed music for ballet the Spring reveille; two cantatas, A Symphonic epitaph (in two versions, for string and wind orchestra, each with choir and soloists) and Sutjeska; a solemn, commemorative spectacle The Student days Šumarica (Đačko doba Šumarica); and several song cycles (The Wind of Flame (Plameni vjetar) for voice and orchestra being the most extensive among them, and Stradun, the three musical pastels after poetic impressions entitled The Green Knight (Zeleni vitez) by Miroslav Belović).

The musical language and creative poetics of Aleksandar Obradović could be interpreted as dominantly modernist, whereas the composer covers the stylistic realm from neoclassicism (The First symphony) to neo-expressionism (Microsymphony).

The complex counterpoint evident in many of Obradović's works often impels polytonality, with apparent clusters, elements of twelve-tone technique, Aleatory, and parallel motions of convoluted chord structures.

In the opening part, marked by tempo and character Allegro risoluto e con colera, prominent are complex clusters, which, according to the composer represent "a reverberation of tumultuous micro-polyphony."

In context of the 1999 NATO bombing of Serbia during which this work was contrived, noteworthy seems the inspiration for the concerto's slow second movement Obradović found in a melody from Mokranjac's Octoechos.

The ultimate revelation of the composer's pursuit of freedom emerges in the final movement, in the theme delivered by trumpets, in which Obradović in Morse code conveys the word libertas–freedom.