impressionistic solutions, but also a somewhat robust use of folklore similar to Béla Bartók. His work Rhythmical grimaces (Ritmičke grimase) (1935), a stride toward Expressionism, occupies a special place in his oeuvre, whereas the piano is treated in a somewhat percussionist way, certain places are void of meter markings, and the harmonic aspect is characterized by the departure from tonality and use of tone clusters. Milojević was less prolific in the genre of orchestral music. Among his orchestral compositions is The Death of the Jugović mother (Smrt majke Jugovića) (1921), with glimpses of R. Strauss's influences. This work somewhat exhibits insufficiencies in the aspects of thematic development and orchestral sound. His suite for string orchestra, Intimacy (Intima) (1939), built on the re-la-do-mi-la motive, deems far more successful. While featuring six movements and several moods (depicted by the subtitles), this composition demonstrates coherency and rich sound colour. Miloje Milojević wrote a number of chamber works. He composed two string quartets (in G-major, 1905 and in c-minor, 1906), the G-major quartet being the first work of this genre in Serbian music. He also composed two sonatas for violin and piano (in b-minor, 1924 and in d-minor 1943), Sonata for flute and piano in f-sharp minor (1944) and Sonata in g for viola solo (1944). The most substantial among these works is Sonata for violin and piano in b-minor, a piece of sturdy structure and great expressivity ranging from discrete lyricism to passionate drama. One of Milojević's most distinct works belongs to stage music — Le balai du valet (Sobareva metla) (1923), a ballett grotesque upon a surrealist text by Marko Ristić. Miloje Milojević is represented in the Anthology of Serbian piano music (vol. 1, no. 1, selection by Dejan Despić, Vlastimir Peričić, Dušan Trbojević, and Marija Kovač; editing: Vlastimir Trajković; Belgrade: Composers’ Association of Serbia, CAS, 2005, pp. 30–96), with Four piano pieces, op. 23, Cameos, impressions for piano, op. 51, and Visions, op. 65. He is also represented in the Anthology of Serbian Lied (no. 1, selection and foreword by Ana Stefanović, Belgrade: CAS, 2008, p. 49–101) with “The Nymph” (“Nimfa”), op. 9, no. 1 form the cycle Before the Magnificence of Nature; “The Autumn elegy” (“Jesenja elegija”), op. 5, no. 1; “The Prayer of the Jugović mother to the Evening star” (“Molitva majke Jugovića zvezdi Danici”), op. 31, no. 1; L’heure exquise (Zanosni čas), op. 21, no. 1; Vigil (Bdenje),