KOMPOZIČNÉ PARALELY V KOMORNEJ TVORBE S KLAVÍROM VLADIMÍRA GODÁRA

• Authors: Eva Ferková

Title variants

EN

Compositional parallels in Vladimír Godár’s chamber work with piano

• Languages of publication: SK

Abstracts

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.

Keywords

EN

VLADIMÍR GODÁR; CHAMBER WORKS; PIANO; STRUCTURAL ANALYSIS

• Publisher: Institute of Musicology, Slovak Academy of Sciences; VEDA, Publishing House of the Slovak Academy of Sciences
• Journal: Musicologica Slovaca
• Year: 2015
• Volume: 6 (32)
• Issue: 2
• Pages: 292 – 306

Contributors

author

Eva Ferková

• Hudobno tanečná fakulta VŠMU, Zochova 1, 812 01 Bratislava, Slovak Republic