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Vladimír Godár
16 Mar 1956 Bratislava
www.vladimirgodar.wz.cz
1969 – 1971 private study of composition (Peter Bartovic)
1971 – 1975 study of composition (Juraj Pospíšil) and piano playing (Mária Masariková) at the Bratislava Conservatory
1973 – 1980 music gatherings in the house of Ján Albrecht
1975 – 1980 study of composition (Dezider Kardoš) at the Academy of Performing Arts in Bratislava
1979 – 1988 editor of the music books department of the OPUS publishing house
1984 member of the Union of Slovak Composers (after 1990 the Association of Slovak Composers as the part of the Slovak Music Union)
1985 – 1991 visiting lecturer at the Department of composition of the Academy of Performing Arts in Bratislava
1988 – 1989 a study stay at the Hochschule für Musik und darstellende Kunst in Vienna (Roman Haubenstock-Ramati)
1988 – 1992 postgraduate course at the Institute of Musicology of the Slovak Academy of Sciences
January 1990 chairman of the Association of Slovak Composers
June 1993 a defense of the doctoral thesis Battaglia and Mimesis
1991 – 1996 senior editor of the Slovak Music quarterly
1992 – 1996 research fellow at the Institute of Musicology of the Slovak Academy of Sciences
1993 – 1994 composer-in-residence at the Slovak Philharmonic
since 1997 lecturer at the Department of Aesthetics of the Faculty of Philosophy of the Comenius University (history of aesthetics, history of music)
1997 – 1999 head of the Publishing Department of the National Music Centre
since 1999 director of the publishing department Scriptorium musicum
2001 – 2007 pedagogue of composition at the Academy of Arts in Banská Bystrica
since 2008 president of the Committee of the Bratislava Music Festival
2008 – 2009 chairman of the Association of Slovak Composers
2009 establishment of the association Albrechtina
since 2011 lecturer at the Department of Composition and Conducting at the Academy of Performing Arts in Bratislava
“Godár's music brought in the early 1980s in Slovak context new “arguments” – the new postulation of musical time, a new attitude to the past, consisting in the adoption of historical formal concepts (passacaglia, concerto grosso, partita) and the new form of consequent serial thinking, where there is a crossroads of vertical (the principle of tonal center), linear (canonical principle) and sonic (cluster). These new stimuli were perceived as an entrance for a new generation of composers (M. Burlas, I. Szeghy, P. Breiner and others) as well as an aesthetic revolt against the “official” music of the 1970s and also against the persisting heritage of New Music. In a broader context, however, they were associated with deeper resources of European music manifesting in parallel in work of A. Schnittke, H. M. Górecki, G. Kancheli etc. Godár's compositions can be characterized by a combination of two fundamental assumptions: relatively short, terse motivic shapes, and dimensional space, on which shapes are implemented. In contrast to the minimalist approach, however, Godár's musical time goes in phases, it is warped by significant changes of compositional structure related with maximal dynamic contrast (Talizman, Sekvencia; Grave). At the turn of the 1980s and 1990s Godár emphasized coupling with historical periods, which manifested mostly in an associative level (Emmeleia; Barkarola; Déploration; Via lucis), and sometimes even in the very musical process (Ecce puer). The way in which Godár's music resonates in the Slovak movies deserves special attention (Neha / Tenderness; Všetko ?o mám rád / Everything I Love; Cudzinci / Aliens; Záhrada / Garden; Orbis Pictus) shedding a new light on the question of the social isolation of the contemporary composer.”
(ZAGAR, Peter: Vladimír Godár. In: 100 slovenských skladate?ov. Ed. Marián Jurík, Peter Zagar. Bratislava : Národné hudobné centrum, 1998, p. 105 – 106.)
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