Born in 1948, an architect by profession, he studied composition privately with Miloslav Kabeláč, Vladimír Lébl and Eduard Herzog. His output includes electroacoustic pieces, vocal works as well as chamber music.

The work Ormai exists in two versions of equal importance. The first is totally electroacoustic, the second - meant primarily for concert performance - has a percussion part added to it. The electroacoustic aspect of both versions is the same. The percussion part was written for Tomáš Ondróšek, to whom the piece is dedicated. It is freely sketched and requires from the performer an expanded timbral imagination.
The Italian word 'ormai' has many meanings: just, just now, already... The title determines the way of shaping the musical form and the character of mutual relationships between its elements. In the concert version there is an interdependence between the given reality (electroacoustic part) and an individual reaction evoked just now (soloist).
The sound material of the piece is of two kinds: real, acoustic (striking a Java gong in G sharp and an energy chime in A3, expanded through transpositions) and electronic, achieved by means of synthesizers. The piece begins with the real sound. Gradually it is transformed into a synthetic sound. At the same time, synthetic sounds take on the shape of real sounds (quasi cymbals, gongs, parlando, gridato).
The electroacoustic part was realized by the composer in the recording studios of Czech Radio in Prague on 3-6 August 1998 (with technical assistance from Milan KŢivohlavy). The concert version had its first performance (with T. Ondróšek) on 16 March 1999 in Frankfurt.