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GODÁR V. & BURLAS M. — PIANO WORKS / M.Klátik piano

GODAR V. & BURLAS M. — PIANO WORKS / M.Klatik piano (June 26th, 2014)


GODÁR V. & BURLAS M. — PIANO WORKS / M.Klátik piano
Location: Bratislava, Slovakia
Album release: 26. júna 2014
Record Label: Pavian Records
Duration:     72:34
Martin Burlas (b.1955)
1. Papierový kráľ zaspáva / Paper King is Dozing Off      15:56
2. Koľajnice bez vlakov / Rails Without Trains      15:50
3. Uspávanky pre klávesový nástroj / Lullabies for Keyboard Instrument      11:08
Vladimir Godár (b.1956)
4. Emmeleia      4:45
5. Grave, Passacaglia      15:04
6. Trigram      10:51
ζ   Maroš Klátik piano
ζ   Born 1955 in Bratislava. During his secondary school studies Martin Burlas took private piano lessons from Mária Masáriková and composition lessons from Juraj Hatrík. From 1975 to 1980 he studied composition with Ján Cikker at the Academy of Music and Drama in Bratislava. From 1980 to 1986 Burlas worked as music director of the Opus Publishing House, and in 1986 he founded the Matthews ensemble, which was later renamed "Maťkovia." From 1987 to 1994 he worked as music director at Slovak Radio in Bratislava and was active in Veni Ensemble and the Sleepy Motion and Vitebsk Broken (with Peter Machajdík) ensembles. From 1986 to 1999 worked at Sonicca. In 1999 Burlas co–founded, along with Ľubomír Burgr, Zuzana Piussi and Daniel Salontay, the band Dogma. Since January 2000 he has been employed at the Music Centre in Bratislava and along with Lubo Burgr is co–founder of the Association for Contemporary Opera. Member of Vapori del Cuore. Lives in Bratislava.
Erronet: http://www.errornet.host.sk/
HC.SK: http://www.hc.sk/src/skladatel.php?lg=en&oid=6
Konvergencie: http://konvergencie.sk/?project=burlas-glass-15-9-2014-2
ζ   1969 — 1971 private study of composition (Peter Bartovic)
ζ   1971 — 1975 study of composition (Juraj Pospíšil) and piano playing (Mária Masáriková) at the Bratislava Conservatory
ζ   1973 — 1980 music gatherings in the house of Ján Albrecht
ζ   1975 — 1980 study of composition (Dezider Kardoš) at the Academy of Performing Arts in Bratislava
ζ   1979 — 1988 editor of the music books department of the OPUS publishing house
ζ   1984 — member of the Union of Slovak Composers (after 1990 the Association of Slovak Composers as the part of the Slovak Music Union)
ζ   1985 — 1991 visiting lecturer at the Department of composition of the Academy of Performing Arts in Bratislava
ζ   1988 — 1989 a study stay at the Hochschule für Musik und darstellende Kunst in Vienna (Roman Haubenstock–Ramati)
ζ   1988 — 1992 postgraduate course at the Institute of Musicology of the Slovak Academy of Sciences
ζ   January 1990 — chairman of the Association of Slovak Composers
ζ   June 1993 — a defense of the doctoral thesis Battaglia and Mimesis
ζ   1991 — 1996 senior editor of the Slovak Music quarterly
1992 — 1996 research fellow at the Institute of Musicology of the Slovak Academy of Sciences
ζ   1993 — 1994 composer–in–residence at the Slovak Philharmonic
ζ   since 1997 — lecturer at the Department of Aesthetics of the Faculty of Philosophy of the Comenius University (history of aesthetics, history of music)
ζ   1997 — 1999 head of the Publishing Department of the National Music Centre
ζ   since 1999 — director of the publishing department Scriptorium musicum
ζ   2001 — 2007 pedagogue of composition at the Academy of Arts in Banská Bystrica
ζ   since 2008 — president of the Committee of the Bratislava Music Festival
ζ   2008 — 2009 chairman of the Association of Slovak Composers
ζ   2009 — establishment of the association Albrechtina
ζ   since 2011 — lecturer at the Department of Composition and Conducting at the Academy of Performing Arts in Bratislava

ζ   “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 čo 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 skladateľov. Ed. Marián Jurík, Peter Zagar. Bratislava : Národné hudobné centrum, 1998, p. 105 — 106.)
Website: http://martinburlas.net/
Website: http://www.vladimirgodar.wz.cz/text_en.htm
Dr. Horák: http://hudba.drhorak.sk/
ZOON RECORDS: http://zoonrecords.com/ivan-csudai-martin-burlas-9-easy-pieces-and-other-songs.html
Photo: Source: Music Centre Slovakia archive
Author: Pavel Kastl

GODÁR V. & BURLAS M. — PIANO WORKS / M.Klátik piano




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