Kotik, Petr

Kotik, Petr, Czech-born American flutist and composer; b. Prague, Jan. 27, 1942. He studied flute with Frantisek Cech at the Prague Cons. (B.A., 1962) and at the Prague Academy of Music (M.A., 1969), and had lessons in composition with Rychlik in Prague, and in flute with Hans Resnicek (M.A., 1966) at the Vienna Academy of Music. He also studied composition at the Vienna Academy of Music with Schiske, Jelinek, and Cerha (B.A., 1966). In 1961 he founded Musica Viva Pragensis, and in 1966 the Prague experimental music ensemble QUAX. He went to the U.S. in 1969; became a naturalized American citizen in 1977. From 1969 to 1974 he was a member of the Center of the Creative and Performing Arts at the State Univ. of N.Y. in Buffalo. In 1970 he founded the S.E.M. Ensemble, with which he toured in the U.S. and abroad; also toured as a solo flutist. He taught flute (1971–77) and composition (1976–77) at the State Univ. of N.Y. in Buffalo; also taught composition at York Univ. in Toronto (1975–76). In 1983 he settled in N.Y; continued to tour with the S.E.M. Ensemble and as a soloist.

Works

Congo for Flute, Oboe, Clarinet, Bassoon, Viola, Cello, and Double Bass (1962; Prague, Jan. 18, 1963); Kontrapunkt II for Alto Flute, English Horn, Clarinet, Bassoon, Viola, and Cello (1962-63; Vienna, Oct. 8, 1963); Spontano for Piano and 10 Wind Instruments (1964; Buffalo, May 22, 1973); 6 Plums for Orch. (1965–68); Contraband for Live Electronics and 2 to 6 Performers (Cologne, April 28, 1967); Aria, tape or theater piece (1969; Buffalo, May 27, 1971); Alley for Instrumental Ensemble (1969-70; N.Y., March 18, 1971); There Is Singularly Nothing, 21 solos for Ensemble (1972; rev. version as There Is Singularly Nothing II for Voices and Instruments, N.Y., Dec. 19, 1995); John Mary for 2 Voices, 3 Melodic Instruments, and Percussionist (1973-74; Witten, April 27, 1974); Many Many Women for 2, 4, or 6 Singers and 2, 4, or 6 Instruments (1975–78); Drums for Percussion Ensemble (1977–81); Explorations in the Geometry of Thinking for Vocal Ensemble (1978–82); August/October for Viola or Cello and Ensemble (1981; rev. as Apparent Orbit, 1981-85); Music for Winds (1981–82); Solos and Incidental Harmonies for Flute, Violin, and 2 Percussion (1983–84); Integrated Solo for Flute, Tambourine, Trumpet, and Keyboard (1986–88); Wilsie Bridge for Winds, Keyboards, and Percussion (1986-87; N.Y., Jan. 13, 1987); Letters to Olga for 5 Voices, Flute, Trumpet, and 3 Guitars (1989-91; N.Y., May 7, 1991).

—Nicolas Slonimsky/Laura Kuhn/Dennis McIntire