• 4/2020: Creation

    4/2020: Creation

    Cover: Ľubomír Bereš © A Crash on the Cliff, 2009


    GODÁROVÁ, Katarína: Preface
    In: Slovenská hudba, Vol. 46, 2020, No. 4, pp. 279 – 280


    VESELÝ, Ondrej: The Phenomenon of Polystylism and Its Incarnations in the Music of Slovak Composers
    In: Slovenská hudba, Vol. 46, 2020, No. 4, pp. 281 – 314

    DOI: 10.4149/SH_2020_4_1

    The presented paper deals with polystylism in the Slovak composed music from several perspectives. The study is introduced by a philosophical-aesthetic perspective followed by a historical and cultural viewpoint – the American and (Eastern) European context. The author also associates polystylism with Neoclassicism (Igor Stravinsky) and especially with the personality and work of Alfred Schnittke.
    The presence of polystylism in the Slovak context is firstly covered by the reflection of domestic musicological-theoretical literature followed by a direct study of broader incarnations of polystylism in the music of Ján Zimmer, Ivan Hrušovský, Ladislav Kupkovič, Juraj Beneš and Martin Burlas. However, the core of our research concentrates on the search for its model use, namely in the music of Miro Bázlik and Vladimír Godár. The secondary results of the study are two author’s neologisms coined by the author: compositional polymateria and polytechnique, which are defined by the author as compositional approaches (characteristic for musical polystylism) related to the choice of music material and its subsequent organization in time.

    Key Words

    Polystylism; Neoclassicism; Slovak music; Ján Zimmer; Ivan Hrušovský; Ladislav Kupkovič; Juraj Beneš; Martin Burlas; Miro Bázlik; Vladimír Godár

    JAVORKA, Peter: Jozef Sixta’s String Quartets in the Context of the Genre and Notation Transformations in the Second Half of the 20th Century
    In: Slovenská hudba, Vol. 46, 2020, No. 4, pp. 315 – 336

    DOI: 10.4149/SH_2020_4_2

    The submitted study has focused on the exploration of the numerous parallels of Jozef Sixta’s work with the international music of the time. In particular we use comparisons and delineate similarities of Sixta’s two string quartets (1965, 1984) and the works of composers whose quartets originated approximately in the same era and have similar features. The focus of the study is aleatoric notation for a string quartet – a comparison of an exhaustive and approximate notation and the question of the internal communication within the string quartet medium. Jozef Sixta wrote his First String Quartet in 1965 using aleatoric notation; in 1960s such notation was adopted by many composers all over the world. The essay offers a comparative view on string quartets by Witold Lutosławski, Luciano Berio, Sergey Slonimsky and many others. Studying Sixta’s Second String Quartet from 1984 we find many parallels with tradition (Béla Bartók’s string quartets). Apart from verbal descriptions the study also incorporates excerpts from notations and many scholarly quotations from already published articles concerning the issue, as well as excerpts from the mentioned scores.

    Key Words

    Jozef Sixta; string quartet; aleatoric notation; score


    VESELÝ, Ondrej: From a very early age I’ve had an urge to creation… Interview with Peter Dan Ferenčík

    In: Slovenská hudba, Vol. 46, 2020, No. 4, pp. 337 – 352


    DŘÍZALOVÁ ČERBOVÁ, Zuzana: Ilja Zeljenka: Rozhovory a texty. II. diel
    In: Slovenská hudba, Vol. 46, 2020, No. 4, pp. 353 – 357

    [The contribution is available only in Slovak language in the printed version of the revue.]