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The interwar period brought about a number of modernist tendencies in the   heterogeneous cultural context of the Kingdom of Yugoslavia, which is   particularly salient in the works of the young composers belonging to the   so-called ?Prague group.? Having completed their studies, dozens of   composers and conductors, including Ljubica Maric (1909-2003), Stanojlo   Rajicic (1910-2000) and Milan Ristic (1908-1982) contributed to the   establishment of the new movement in the conservative milieu of interwar   Belgrade. After World War II, socialist realism became, in effect, the only   approved style for the artists of the period. However, only a decade after   the Tito-Stalin split, modernist tendencies reappeared fullblown in the   output of Yugoslav composers. It is therefore of the greatest interest to   analyse and present the way in which modernist music managed to find its way   back to Yugoslav composers, performers and audiences in such a short period   of time (the 1950s). To do so, we have chosen three piano concertos, written   at the very beginning, in the middle, and at the very end of this period.   This overview would not have been possible if we had analysed works   belonging to other genres, as most had already been established in the   pre-war period. However, it is also safe to conclude that the limitations on   the Yugoslav scene were not imposed only by political authorities, but also   by the conservative tastes of its audience and society, which were already   in place before WWII.

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The early Prague spring: Analysing the re-establishment of modernist aspects according to the example of three piano concertos by the “Prague group” of composers