Peter Machajdík (pronunciation) has created a catalogue of works spanning virtually every genre from chamber, orchestral, vocal and electronic music to multimedia works. He often takes very simple materials and a simple mode of expression, and creates a vibrant and challenging sonic palette. His music, commonly characterised as emotive, imaginary, hypnotic and cinematic, has been performed to international audiences on five continents for over twenty five years and has been featured at festivals such as Inventionen in Berlin, New Work in Calgary, Early Music Festival in Boston, LakeComo Festival, Ostrava Days, Nuovi Spazi Musicali in Rome, Young Euro Classic in Berlin, Bolzano Festival, Hörgänge at the Konzerthaus in Vienna, Sagra Musicale Malatestiana in Rimini, Kauniainen Music Festival and Hauho Music Festival in Finland, Audio Art Festival in Cracow, Contrasts in Lviv, Festival Timişoara Muzicală, Melos-Ethos Festival, and the Bratislava Music Festival.
Machajdík's works have been commissioned and/or performed by the I.J.Paderewski State Philharmonic Orchestra, the Janáček Philharmonic Orchestra, Nordwestdeutsche Philharmonie, the Symphony Orchestra of the Lublin Philharmonic, Berg Orchestra, the Slovak Chamber Orchestra, the Slovak Radio Symphony Orchestra, Camerata Europea, the Luhansk Symphony Orchestra, Cluster Ensemble, Ensemble Metamorphosis, the Virtuosi Lviv Chamber Orchestra, Arte Quartett, Prague Modern, Duo Accosphere, and soloists such as harpists Floraleda Sacchi, Kristan Toczko, Klára Bábel and Megan Morris, clarinetists Martin Adámek and Guido Arbonelli, organists Carson Cooman, Per Ahlman, David di Fiore and Olena Matselyukh, violists Saša Mirković and Martin Ruman, cimbalom player Enikö Ginzery, cellists John Alex Heley, Piero Salvatori, Jozef Lupták and Darry Dolezal, harpsichordists Elina Mustonen, Sonia Lee, Asako Hirabayashi and Faythe Vollrath, pianists Jordana Palovičová, Katarzyna Musiał, József Balog, Daniel Garel, Mayuko Kida, Juan Maria Solare, Olga Striletska, Zuzana Manera Biščáková, flautists Rebecca Jeffreys, Yeeun Kim and Alex Griffiths, accordionists Boris Lenko, Peter Katina, Rocco Anthony Jerry and Gertie Bruin, double bassist Dritan Gani, and oboist Piet Van Bockstal. Conductors who have championed his work include Benjamin Bayl, Anu Tali, Florian Ludwig, Miran Vaupotić, Paweł Przytocki, Oliver Kentish, Leoš Svárovský, Ondrej Olos, Maria Makraki, Peter Breiner, Przemysław Zych, Peter Vrábel, Marián Lejava, Petr Kofroň, Ondřej Kukal and Hakan Sensoy.
Machajdík's prolific catalogue of chamber music includes DanubeAfterpoint for piccolo, flute, clarinet, bass clarinet, two pianos and string quartet (Radio_Head Awards Festival), On The Seven Colours of Light for organ (Carson Cooman), It's Not The Mist for two pianos (Cluster Ensemble), Empty Cage for harpsichord (Elina Mustonen), Signes de la mémoire for clarinet, violin, cello and piano, Nell’autunno del suo abbraccio insone for harp (LakeComo Festival, for Floraleda Sacchi), Senahh for flute and piano (Rebecca Jeffreys & Alexander Timofeev), solo harp, accordion, organ, piano and guitar literature, five string quartets as well as a number of other works for groups with whom he has developed close partnerships, including Quasars Ensemble, Mucha Quartet, Duo Accosphere, Czechoslovak Chamber Duo, Melos Ethos Festival and many others.
Machajdík's viola concerto Behind the Waves, the accordion concerto Gegen.Stand, Namah for string orchestra and woodblock, and Wie der Wind in den Dünen for string orchestra are marked by extreme emotional depth and colourful orchestration, and belong to Machajdík's most frequently programmed orchestral works.
Peter Machajdik's vocal music includes Błogosławieni for mezzo-soprano, violin and string orchestra (Izabela Kopeć and the Lublin Philharmonic), choral works Domine (AVE Chamber Choir), Kyrie (Volda Vocale) and Dotyki (Warsaw Choir), works for solo voice, including Haiku for soprano, clarinet and piano (Nao Higano, Martin Adámek, Zuzana Biščáková), Halleluya for soprano and viola, Vita Eterna for soprano, mixed choir, flute, violin and piano, and Ave verum for soprano and piano (or harp).
Current projects include Chorale for two harps and string orchestra to be premiered by Jana Boušková, Katarina Turnerova and the Slovak Chamber Orchestra in the framework of the Bratislava Music Festival in October 2022, a harp duet for the British Duo Novus, a piece for The Vesta Trio, a sonata for German harpist Antje Gräupner's trio, a duet for Ivan Palovič (viola) and Jordana Palovičová (piano), a concerto for solo viola and strings, commissioned by Saša Mirković and his Ensemble Metamorphosis, an ensemble work for Kwartludium, a piano quintet for pianist Xenia Jarova & Mucha Quartet, an octet for the Slovak ensemble SO36, and a saxophone quartet for the Scotland-based Sax Ecosse.
Once one of the central figures in the avant-garde and contemporary music scene in former Czechoslovakia for over 30 years, Machajdík has been awarded a 1988 Luigi Russolo Composition Prize, a 2011 International Visegrad Fund individual artist grant, and the Jan Levoslav Bella Composition Prize for his string quartets. In the 1990s, he carried out studies in master classes and workshops with Vinko Globokar, Dick Raaijmakers, Clarence Barlow, Konrad Boehmer and Victor Wentink. He was awarded a Fellow of the DAAD Artist-in-Berlin Program in 1992, and was the recipient of the 2016, 2018 and 2020 Slovak Arts Council Fellowships. His catalogue of chamber and orchestral music, choral and theatrical works, continues to expand through his steady stream of commissions and collaborations.