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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 thirty 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, Melos-Ethos Festival, Nuovi Spazi Musicali in Rome, Young Euro Classic in Berlin, Bolzano Festival, Hörgänge at the Konzerthaus in Vienna, Sagra Musicale Malatestiana in Rimini, Sysmä Suvisoitto Festival, Kauniainen Music Festival and Hauho Music Festival in Finland, Audio Art Festival in Cracow, Forum for New Music in Oberstdorf, Contrasts in Lviv, Festival Timişoara Muzicală, and the Bratislava Music Festival.
Machajdík's compositions have been commissioned and/or performed by the Symphony Orchestra of the Lublin Philharmonic, Nordwestdeutsche Philharmonie, the Janáček Philharmonic Orchestra, Berg Orchestra, the Slovak Chamber Orchestra, Quasars Ensemble, the I.J.Paderewski State Philharmonic Orchestra, the Luhansk Symphony Orchestra, the Slovak Radio Symphony Orchestra, Cluster Ensemble, Ensemble Metamorphosis, NeoQuartet, the Virtuosi Lviv Chamber Orchestra, Camerata Europea, Kwartludium, Arte Quartett, Ensemble Inn, Prague Modern, Ensemble Ricercata, duoAccosphere, LLLeggiero Woodwind Trio, and soloists such as harpists Floraleda Sacchi, Kristan Toczko, Klára Bábel, Adriana Antalová, Antje Gräupner and Megan Morris, clarinetists Martin Adámek and Guido Arbonelli, organists Carson Cooman, Per Ahlman, David di Fiore, Olena Matselyukh and Olga Striletska, 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, Piotr Nowicki, Katarzyna Musiał, József Balog, Daniel Garel, Mayuko Kida, Juan Maria Solare, Zuzana Manera Biščáková, flautists Rebecca Jeffreys, Yeeun Kim and Alex Griffiths, accordionists Boris Lenko, Peter Katina, Milan Osadský, Rocco Anthony Jerry and Gertie Bruin, double bassists Dritan Gani and Ján Krigovský, 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. He was the founding member of Transmusic Comp., former Czechoslovakia's most original ensemble for experimental music.
Machajdík's prolific catalogue of chamber music includes Danube Afterpoint 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, Kwartludium, Mucha Quartet, duoAccosphere, 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).
Machajdík has also composed scores for feature films and documentaries, contemporary dance, ballet and theatre, and for radio plays. His music has recently been heard in Caryl Churchill's drama Escaped Alone at the Slovak National Theatre, in Nobel Prize Winner in Literature Jon Fosse's Nokon kjem til å komme, and in Sofia Andrukhovych's Felix Austria at the Brno-based HaDivadlo, all of them under the direction of Eduard Kudláč, as well as in Kristina Paulin's choreographies for the soloists of both the Hamburg Ballet and the Slovak National Theatre. He has also created a number of graphic scores that have been exhibited and performed worldwide.
Current projects include an orchestral work funded by the Slovak Arts Council, Chorale for two harps and string orchestra to be premiered by Jana Boušková, Katarina Turnerova and the Slovak Chamber Orchestra at the Slovak Philharmonic in Bratislava in September 2024, a work for LLLeggiero Woodwind Trio, a piece for Italian guitarist Andrea Monarda, a clarinet / piano duet for the Polish Fluda - Lato Duo, and music for Miklós Forgács's theatre piece Lilith. Other musical projects to receive their public premieres (postponed owing to Covid-19) include Lavender Fields for the German trio Dagmar Klauck (flute), Elena Simonett (viola) and Antje Gräupner (harp), a piece for Trio Violettes, a concerto for viola and strings, commissioned by Sasha Mirković and his Ensemble Metamorphosis, and a piece for the Bratislava Guitar Quartet.
Once one of the central figures in the avant-garde and contemporary music scene in former Czechoslovakia for over 35 years, Machajdík has been awarded a 1988 Luigi Russolo Composition Prize, 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 work has also been supported by grants from the the Visegrad Foundation and SOZA, and with funded artist residencies at Künstlerhaus Lukas, Künstlerhäuser Worpswede, Schloss Wiepersdorf, and the Center for Contemporary Art in Judenburg. His work is well documented in recordings on Youtube, SoundCloud, and Bandcamp. His catalogue of chamber and orchestral music, choral and theatrical works, continues to expand through his steady stream of commissions and collaborations.
Machajdík's compositions have been commissioned and/or performed by the Symphony Orchestra of the Lublin Philharmonic, Nordwestdeutsche Philharmonie, the Janáček Philharmonic Orchestra, Berg Orchestra, the Slovak Chamber Orchestra, Quasars Ensemble, the I.J.Paderewski State Philharmonic Orchestra, the Luhansk Symphony Orchestra, the Slovak Radio Symphony Orchestra, Cluster Ensemble, Ensemble Metamorphosis, NeoQuartet, the Virtuosi Lviv Chamber Orchestra, Camerata Europea, Kwartludium, Arte Quartett, Ensemble Inn, Prague Modern, Ensemble Ricercata, duoAccosphere, LLLeggiero Woodwind Trio, and soloists such as harpists Floraleda Sacchi, Kristan Toczko, Klára Bábel, Adriana Antalová, Antje Gräupner and Megan Morris, clarinetists Martin Adámek and Guido Arbonelli, organists Carson Cooman, Per Ahlman, David di Fiore, Olena Matselyukh and Olga Striletska, 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, Piotr Nowicki, Katarzyna Musiał, József Balog, Daniel Garel, Mayuko Kida, Juan Maria Solare, Zuzana Manera Biščáková, flautists Rebecca Jeffreys, Yeeun Kim and Alex Griffiths, accordionists Boris Lenko, Peter Katina, Milan Osadský, Rocco Anthony Jerry and Gertie Bruin, double bassists Dritan Gani and Ján Krigovský, 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. He was the founding member of Transmusic Comp., former Czechoslovakia's most original ensemble for experimental music.
Machajdík's prolific catalogue of chamber music includes Danube Afterpoint 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, Kwartludium, Mucha Quartet, duoAccosphere, 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).
Machajdík has also composed scores for feature films and documentaries, contemporary dance, ballet and theatre, and for radio plays. His music has recently been heard in Caryl Churchill's drama Escaped Alone at the Slovak National Theatre, in Nobel Prize Winner in Literature Jon Fosse's Nokon kjem til å komme, and in Sofia Andrukhovych's Felix Austria at the Brno-based HaDivadlo, all of them under the direction of Eduard Kudláč, as well as in Kristina Paulin's choreographies for the soloists of both the Hamburg Ballet and the Slovak National Theatre. He has also created a number of graphic scores that have been exhibited and performed worldwide.
Current projects include an orchestral work funded by the Slovak Arts Council, Chorale for two harps and string orchestra to be premiered by Jana Boušková, Katarina Turnerova and the Slovak Chamber Orchestra at the Slovak Philharmonic in Bratislava in September 2024, a work for LLLeggiero Woodwind Trio, a piece for Italian guitarist Andrea Monarda, a clarinet / piano duet for the Polish Fluda - Lato Duo, and music for Miklós Forgács's theatre piece Lilith. Other musical projects to receive their public premieres (postponed owing to Covid-19) include Lavender Fields for the German trio Dagmar Klauck (flute), Elena Simonett (viola) and Antje Gräupner (harp), a piece for Trio Violettes, a concerto for viola and strings, commissioned by Sasha Mirković and his Ensemble Metamorphosis, and a piece for the Bratislava Guitar Quartet.
Once one of the central figures in the avant-garde and contemporary music scene in former Czechoslovakia for over 35 years, Machajdík has been awarded a 1988 Luigi Russolo Composition Prize, 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 work has also been supported by grants from the the Visegrad Foundation and SOZA, and with funded artist residencies at Künstlerhaus Lukas, Künstlerhäuser Worpswede, Schloss Wiepersdorf, and the Center for Contemporary Art in Judenburg. His work is well documented in recordings on Youtube, SoundCloud, and Bandcamp. His catalogue of chamber and orchestral music, choral and theatrical works, continues to expand through his steady stream of commissions and collaborations.
