• 1979 – 1985

    Music Academy in Basel (piano – M. Raaflaub, later music theory – Robert Suter, Jacques Wildberger and Wolfgang Neininger)

  • 1982 – 1985

    studied conducting with Albert E. Kaiser, became his assistant during one year at the Music Academy

  • 1983

    course for conductors with Franco Ferrara in Siena

  • 1984 – 1986

    rehearsal pianist and assistant of Harry Rodmann in the Basel Opera Studio

  • 1985 – 1986

    conductor of the Complesso Vivaldiano orchestra in Basel

  • 1986 – 1988

    carried on with studies of conducting with Ulrich Weder and at the Richard Strauss Conservatory in Munich, where he also attended lectures of S. Celibidache, in addition to studies at the Mozarteum in Salzburg; concurrently worked in Innsbruck theatre

  • 1987

    conducting course with Arpadio Joo in Assisi

  • 1988 – 1990

    music theory teacher at the Sacred Music Academy in Luzern

  • 1990 – 1996

    teacher of music theory, score playing and ear training at the Conservatory in Schaffhausen

  • since 1993

    lives in Bratislava as a free-lance composer

“Hanák's work is quantitatively very modest, thereby it is more interesting. Titles of his compositions, as well as their text inspiration refer to the composer's decidedly aesthetic and philosophical reflection. “Mojmír Hanák's distinctive musical language is characterized by a strongly expressive, deeply artistic language, and an effort for the most economical use of material in response to the aesthetic lines and compositional thinking of the Russian school (Modest Petrovič Musorgsky, Dmitry Shostakovich).” (Anton Steinecker). His current compositions show a predominately conscious tendency to sound subtle and clear instrumentally (Ticho / Silence For Flute, Strings and Harp), reminiscent of the pastel colors of French Impressionist painters.”


(JURÍK, Marián: Mojmír Hanák. In: 100 slovenských skladateľov. Ed. Marián Jurík, Peter Zagar. Bratislava : Národné hudobné centrum, 1998, p. 114.)