Otomar Kvech (25/05/1950 - 16/03/2018) a Czech composer (from Prague). Already the first compositions by Kvech, submitted to the musical public attracted listeners by spontaneity and sound invention and demonstrated an extraordinary talent. He has obtained at the beginning of his composer's career a number of prices in domestic and foreign competitions of composers. Many of his compositions were reprised in Czechoslovakia. His music was performed in many countries: Germany, France, the Great Britain, Austria, Italy, Switzerland, Spain, Russian, the USA, Australia, Israel, Algeria, Vietnam, etc. Otomar Kvech has obtained a classic composer's training. At the beginning of the seventieth he had a not very long period during which he was influenced with the so-called New Music, above all the Polish one. After that a style reversion came. He says about it himself: "I had an impression that I am simulating and composing not in an agreement with my conviction but in accordance with the aim to look interestingly and above all so called modernly. An expressive melodic line, distinct harmony and well arranged composition is according to my observation always the foundation stones of the musical speech so as they has been in the European music roughly from the early baroque till the present days. The sound color is an important factor influencing the universal communication of the composition but it cannot be replaced in its function by other parameters (rhythm, line, etc.). The sound is a carrier of the musical idea but not its substance. After appreciation of these principal views I have turned away from the so called Avant-garde with a consciousness of the risk that I will be accused of conservatism by many of mine colleagues, but above all by the critics. My aim is not to crush the music of the past masters. I would like to develop my own musical speech in the similar way as Brahms developed Beethoven, Schumann and further German authors, as Shostakowich developed the Russian classics and Mahler, etc. I do not avoid in any way the news of the Avant-gardists; I consider their activity very useful and contributive. But for my musical ideal I select from their inventions only that what is consonant with my internal insight on the music, my personal requirements of inventive work in all components, above all in an area of the theme and the work with it. Agreeing understanding with my aims is expressed by a number of my colleagues, above all interpreters and the audience, whom I consider as the most important counselors and critics of my work. This gives me a hope that my way need not to be blind."