Prof. Miloš Štědroň
Prof. Miloš Štědroň
Prof. PhDr. Miloš Štědroň, CSc. (* 9th February 1942)
… studied musicology and Czech at the Faculty of Arts, J. E. Purkyně University (now Masaryk University) 1959–1964 and composition at Janáček Academy of Arts under Alois Piňos, Miloslav Ištvan, Ctirad Kohoutek and Jan Kapr (1965–1971). He later continued his training as a composer with postgraduate studies in experimental and electroacoustic music and Janáček Academy and scholarships in Darmstadt (1966), Vienna, Belgium and the Netherlands (1964), Germany – Munich (stipendium der Stadt München 1988 and 1989). As a university student he had already (in 1963) started to work as an assistant at the Music History Department of the Moravian Museum, and he later led the Small Music Theatre there. In 1972 he left to work at the Musicology Department of the Faculty of Arts at what is today Masaryk University, where in 1988 he gained his “habilitation“ as a docent on the basis of research on Janáček that had already gained him his doctoral degree of Candidate of Science. In 1994 he was appointed professor. He has lectured on the theory of composition and other subjects at Masaryk University and Janáček Academy of Arts. His musicological interests are focused on the 20th-century music and the era of the Renaissance, mannerism and Baroque.
At the beginning of his professional musical career, Štědroň‘s interests were primarily in history and theory of music. The change that shifted the balance to composition came in the mid-seventies. Many years of work with theatre companies, and especially the Theatre on a String (Divadlo na provázku) gave Miloš Štědroň the chance to develop his particular vision of, and approach to, the contemporary music theatre. The dominating feature of Štědroň‘s creative interests and ideas is music of older styles, to which he reacts as arranger and above as composer by systematically linking up and so transforming the principles of older and contemporary music. He uses the methods of collage, montage and other techniques that lead to “banalisation“, alienation and even parody. The focus of Štědroň‘s work is concertante music for ensembles of a generally “chamber“ scope and structure, which takes as its starting point (and inspiration) the most personal material in the context of contemporary musical thought. Many of his pieces are inspired by folk music and folk and non-traditional instruments often appear in his instrumentation. He is well-known for his collaboration with famous contemporary music ensembles such as Due Boemi and DAMA DAMA. Štědroň is also linked to the fragments of music by Janáček (the Danube Symphony, the Wandering of the Soul Violin Concerto), that he prepared for performance together with Leoš Faltus, and with his work on a critical edition of the complete scores of Janáček.
Štědroň is the composer of many dozens of scores for stage and fifi lm productions and is one of the most sought-after musicians in this fi eld.
He has received a range of awards for his music, including, for example, prices at the Czechoslovak Republic Young Composers‘ Competition for his pieces Master Machaut in Bohemia and Terra, 1st Prize in the Prix Musical de Radio Brno, and Prix Musique Folklorique de Radio Bratislava for The Weeping of Růžena Danielová from Hrubá Vrbka over her Husband, Dead in Auschwitz (a joint work with A. Parsch), or a prize in a competition in Santander for his music for the fi lm Ballad for a Bandit.
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