Piano Quintets

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First name: Vladimir
Last name: Godár
Dates: 1956
Category: Quintet
Nationality: Slovakian
Opus name: Deploration sur te mort de Wiold Lutoslawsky
Publisher: Slovakia
Peculiarities: http://www.hc.sk/en/hudba/diela/?n=&k=040105&o=&d_od=&d_do=&r_od=&r_do=&vp-page=3
Information: 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.)