KOMPOZIČNÉ PARALELY V KOMORNEJ TVORBE S KLAVÍROM VLADIMÍRA GODÁRA
Compositional parallels in Vladimír Godár’s chamber work with piano
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This study maps the basic features of Godar’s compositional language, particularly in four works: Ricercar for several versions of chamber instrumentation, where the piano has an important sound-painting and harmonic position, Sequence for violin and piano, Talisman for violin, cello and piano, and Sonata in Memory of Viktor Shklovsky for cello and piano, where the piano is both an accompanying and a solo instrument. In these works one can ﬁnd common denominators: expressive motivic work, movement in tonal, modal, chromatic or atonal space, preference for one interval – for example the minor second (semi-tone) or minor third in combination with triton, rich use of triadic chords from triads through seventh chords to harmonic clusters, and work with contrast in a variety of layers and parameters of musical structure. Apart from the common features, each of the compositions has also its distinctive individual features.
292 – 306
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