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was born in Brno on October 25, 1935 and attracted attention early during his studies with his extraordinary compositional talent, combining a rich, grand and characteristic musical invention with an unusually mature composing technique as well as dazzling instrumentation. Subsequently, he received appropriate musical education, graduating from Brno Conservatoire in the organ class of Josef Cernocky and in composition at the Janacek Academy of Performing Arts under Vilem Petrzelka and Theodor Schaeffer. Before this, his teachers were also Janacek's pupils, Vladimir Malacka and Frantisek Suchy. However, he refined his talent also more or less unconsciously, above all by his own independent work: by studying recordings, analysing scores and especially by bold solutions to original creative problems formulated by himself. At a relatively young age his compositions were performed in many countries (in all of Europe, including Great Britain and Soviet Union/Russia as well as the United States, Canada, Japan, Australia, New Zealand, the South African Republic etc.); they were broadcast, recorded and published, also many times abroad. Among the interpreters of Pololanik’s compositions, one finds a number of outstanding conductors, soloists, and ensembles, often of international reputation.

Pololanik’s work develops from the beginning along three lines:

Concert music and ballets: to the present time (1990) includes about 150 works. Here we meet a colourful variety of genres, a liking for uncommon instrumental groupings, unusual artistic concepts and a remarkable contrast in the style of the individual works, although they all bear specific common features of the composer’s individual style. Although, in the sixties, the author stood at the forefront attempts in musical innovation in the Czechoslovakia at that time (the reviewers wrote that he literally poured forth one interesting work after another), he instinctively distanced himself from the excessive constructivism of the period, which was often substituted for an idea and which forced laws upon music intrinsically foreign to it. Foreign to him was also the tendency to an unnecessarily drastic sound, chronic inclination to depressive moods, and other modernist vices. The basic message of hope and brightness undoubtedly was the reason why Pololanik’s music was popular even with the sophisticated public in spite of its complex character.

Sacred music: the second line of Pololanik’s compositions was formed by spiritual music written for practical liturgical purposes.

Incidental music: about 350 film, television and radio scores, including incidental music for drama represent the third and last line. These are the result of co-operation with 45 directors or choreographers.

The author, who lives with his family at Ostrovacice near Brno, chose the freelance profession of a composer as his only one and remains active in it to the present.


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