Patrik Kako studied composition at the Faculty of Music, Academy of Performing Arts in Prague, under the guidance of Luboš Mrkvička, Michal Rataj, and Hanuš Bartoň. He participated in the Erasmus exchange program at the Hochschule für Musik und Theater "Felix Mendelssohn Bartholdy" in Leipzig, where he studied with Fabien Lévy.
In 2024, he attended the Ink Still Wet composition and conducting workshop in Grafenegg, led by the phenomenal Enno Poppe. During the course, he premiered his orchestral piece leonora > re:destructed.
In the past, he participated in courses and composition consultations with prominent composers such as Tristan Murail, Frank Bedrossian, Marco Stroppa, Miguel Azguime, Hector Parra, Anders Flodin, Ivo Medek, and others. He has collaborated with ensembles including Klangforum Wien, MDI Ensemble, Ensemble Terrible, Hungary Radio Orchestra, Prague Modern, and Fama Quartet.
His current compositional work is founded on the pillars of analysis and transformations of sound recordings. These recordings serve as cohesive inspirational material for various compositional elements. The analysis results are integrated into traditional composition techniques, such as instrumentation, instrumental combinations, and harmonic structuring. Formally, his work often involves the simultaneous layering of multiple harmonic planes, explored over time. An essential feature of his compositional process is the use of advanced instrumental techniques and their hierarchical organization.
Since 2020, he has led the student ensemble Ensemble Terrible, with whom he premiered his chamber opera finitika, a work addressing the end of human evolution. A notable achievement was a guest performance by soloist Martin Adámek. In 2022, he presented two projects featuring 12 new works by composers from the Czech Republic, Slovakia, and the USA. He also conducted the project eroica > re:destructed, presenting recompositions of Beethoven's Eroica.
As a conductor, Patrik Kako is active across a variety of styles, with a particular focus on chamber music and the interpretation of new music. He has conducted premieres of his own compositions as well as works by other composers. Last year, he made his conducting debut at the New Opera Days Festival in Ostrava.
.constitit (2017), for string orchestra and electronics
.im memoriam John Cage (2017), sonatina for violoncello
Preludium and Chaconne (2017), for organ .
Odlet(ˇ) (2017), for organ .
Et ne nos... (2016), for soprano and ensemble
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Fantastic pieces (2016)
Icons (2016), for baritone, female choir and chamber orchestra, on the texts by Daniel Pastirčák ( Night Icon - Time Icon - Shining Icon )
String Quartet no.0,5 (2016)
Miniatures (2015) for trumpet and piano
Eight preludes for piano (2014-2015)
Wind Quintet (2014)
.other
Prečo je nebo belasé (2019), for video&electronics.(33').*Crosscurrents and Nodes, june-2019, Örebro, Sweden
.re_jouissance(270.3-285) (2019), for 2 instruments&live_electronics
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Neotravujte! (2018), Live electroacoustic improvisation form opening (vernisage) of Markéta Jáchimová exebition Raum in Atrium in Žižkov.(33').Yanina Alachnovič -flutes, Patrik Kako - electronics
Since Beethoven "robbed" Mozart, we have the right to do the same to him! (Like Kagel or Cerha.) We are obligated to deform his chords, melodies, instrumentation, and even the form! The composition intertwines the original material of the Eroica Symphony with results from the spectral analysis of instruments. Using algorithms, I search for ways old ideas might be approached today. The result is an endless evolutionary process of permutation of musical objects, microtonal deformations of harmonic concepts, and the extension of the original timbre into a post-Lachenmann era.
The original composition was created for a similar project of Ensemble Terrible, with the possibility of claiming one sensitive remark: "jouissance_e / eroica creates the feeling as if the listener, high on drugs, was attending a concert of 18th-century music."
*Leonore > re:destructed* by Patrik Kako rips apart Beethoven’s fourth Leonore overture, not just adapting it, but smashing it into a grotesque collage of Beethoven, Lachenmann, and Kako’s own twisted essence. The piece warps between the original and its fragmented mutations—distorted harmonies, rhythms, and a collapsing sonata form. It’s a brutal exploration of decay, a rejection of any musical ideals that came before or after. Kako’s vision is raw nihilism, reveling in the chaos and negation of the world.
The result is like stumbling into an 18th-century concert hall after a night of hard drugs and heavy sedation—an unsettling, warped hallucination where everything familiar is shredded beyond recognition.
*Tonkünstler Orchestra, cond. Patrik Kako, 25.8.2024, Grafenegg, Ink Still Wet
.jouissance_i
- for small ensemble - 2023 - (7´)
The .jouissance series of compositions does not want to address the question of sensation and pleasure, or pleasure and suffering, in a Lacanian way, but to ask the question of the ordering of the building entities of daily drama by the possibility of musical situations - objects - motifs. Their basis is often a lo-fi recording, often a documentary snapshot - which is lo-fi converted. The principle of conversion and choice brings a measure - of delight - of suffering - of the rough line or detail - so in the end that Lacan is there?
Specifically, in this piece it is a process - where the harmonic result of a continuous glissando (generated by granural synthesis of lo-fi sound) has been applied. This glissando is transformed into various types of coordination in the instrumentation process - where the piece develops from sections of timbral melody > glissando > or simple decompositions of the harmonic results. This simple process works with repetitive rhythmic phrases, sonorities based on chordal structure.
*Ensemble Asynchrónie, cond. Peter Javorka, 26.10.2023, Bratislava, Festival Asnychrónie 2023
.jouissance_h
- for flute - 2023 - (3´)
The .jouissance series of compositions does not want to address the question of sensation and pleasure, or pleasure and suffering, in a Lacanian way, but to ask the question of the ordering of the building entities of daily drama by the possibility of musical situations - objects - motifs. Their basis is often a lo-fi recording, often a documentary snapshot - which is lo-fi converted. The principle of conversion and choice brings a measure - of delight - of suffering - of the rough line or detail - so in the end that Lacan is there?
*Fesitval Mixtur 2023, voice/flute Heliä Mailiis Viirakivi, 7.10.2023, Barcelona
.jouissance_g
- for clarinet, violin, violoncello and piano - 2023 - (9´)
The .jouissance series of compositions does not want to address the question of sensation and pleasure, or pleasure and suffering, in a Lacanian way, but to ask the question of the ordering of the building entities of daily drama by the possibility of musical situations - objects - motifs. Their basis is often a lo-fi recording, often a documentary snapshot - which is lo-fi converted. The principle of conversion and choice brings a measure - of delight - of suffering - of the rough line or detail - so in the end that Lacan is there?
The .jouissance series of compositions does not want to address the question of sensation and pleasure, or pleasure and suffering, in a Lacanian way, but to ask the question of the ordering of the building entities of daily drama by the possibility of musical situations - objects - motifs. Their basis is often a lo-fi recording, often a documentary snapshot - which is lo-fi converted. The principle of conversion and choice brings a measure - of delight - of suffering - of the rough line or detail - so in the end that Lacan is there?
- Specifically, this piece is about the process - the process of transferring the experience of the documentary performance - Those Who Speak For Themselves
the process of the theatre as a gallery I've transferred into the enjoyment of the music as a gallery -
- in the ultimate implications - is every single object - whether acoustic or electronic of that experience - represents a blending of the situation - and the documentary narrative
*Prague Modern, conductor David Danel, 12.9.2023, Festival Echoflux23, Prague
.jouissance_e
- for large ensemble ensemble - 2022 - (15´)
The .jouissance series of compositions does not want to address the question of sensation and pleasure, or pleasure and suffering, in a Lacanian way, but to ask the question of the ordering of the building entities of daily drama by the possibility of musical situations - objects - motifs. Their basis is often a lo-fi recording, often a documentary snapshot - which is lo-fi converted. The principle of conversion and choice brings a measure - of delight - of suffering - of the rough line or detail - so in the end that Lacan is there?
- Since Beethoven robbed Mozart - we have the right to rob him!
(like Kagel or Cierha) His chords become our aggregates, his melodies become our textures, his static becomes our dynamics - and vice versa!
The .jouissance_e handles the exposition of Beethoven's Eroica, working with objects and chord repetitions. The chords - which in Beethoven are played sforzanto - are the most processed. The real Beethoven emerges in the background, whether with ironic singing - or false notes.
Second movement .jouissance_e_II - treats 6 sforzanto chords from the reprise of the first movement. Gradually, these exposed chords are transformed into objects to a free quotation and imitation of Beethoven.
*Ensemble Terrible ,conductor Patrik Kako, 17.10.2022, Gabriel Loci, Prague
- The compositional process of the piece was supported by the Fund for the Support of the Arts (in 2021). -
.jouissance_d (with live electronics)
- for string quartet - 2021/2022 - (24´)
The .jouissance series of compositions does not want to address the question of sensation and pleasure, or pleasure and suffering, in a Lacanian way, but to ask the question of the ordering of the building entities of daily drama by the possibility of musical situations - objects - motifs. Their basis is often a lo-fi recording, often a documentary snapshot - which is lo-fi converted. The principle of conversion and choice brings a measure - of delight - of suffering - of the rough line or detail - so in the end that Lacan is there?
- In this large composition for this classical quartet, I address the issue of alternation - the permutation of contrasting musical objects. I alternate 5 elements throughout the process. Their characteristic features are carried through the whole composition and are gradually developed and easily transformed. In the conceptual conception, it is mostly about alternating strong, fast gestures with rhythmic klangfarben objects.
*FAMA Quartet. Mix - Patrik Kako, Pietro Nacca. Master - Richard Grimm. Cover art - Klara Kusá. 11.6.2023, HAMU. Prague
- The compositional process of the piece was supported by the Fund for the Support of the Arts (in 2021). -
- The recording project was supported by Nadácia Tatrabanky - Tvorba a interpretácia mladej generácie, Hudobný fond, SKF Soza a FPU, -
.jouissance_c
- for chamber ensemble - 2022 - (9´)
The .jouissance series of compositions does not want to address the question of sensation and pleasure, or pleasure and suffering, in a Lacanian way, but to ask the question of the ordering of the building entities of daily drama by the possibility of musical situations - objects - motifs. Their basis is often a lo-fi recording, often a documentary snapshot - which is lo-fi converted. The principle of conversion and choice brings a measure - of delight - of suffering - of the rough line or detail - so in the end that Lacan is there?
- Specifically in this piece it is a process - a process of retrograde copying of a 2019 piece (it was performed at a similar festival - and its label bears the letter _b - then parts were selected from this piece and analysed - and the result was sorted, copied and coloured in. The process of shortening or lengthening individual objects (a - instrumented retrograde, b c - reverse accel. or combining objects d + e also works with the layering of these objects in an instrumental way.
*festival AsynChrónie 2022,conductor Peter Javorka, 7.6.2022, Dvorana.HTF VŠMU. Bratislava
- The compositional process of the piece was supported by the Fund for the Support of the Arts (in 2021). -
.funktionslust : S -ub-
- for chamber ensemble - 2021/2022 - (10´)
Karl Bühler explains that the desire for function is a specific relationship of pleasure to function. the desire to function as a motivation for action .. the joy of function - a kind of self-pleasure -> the intention to do something without pursuing a specific purpose -
This version is a recomposition of the subtrack from the original piece .funktionslust - for kantele /2019/.
I used my beloved software Intelliscore, which analysed some unusual parts. Rhythm and permutation are also generated by this "cheap" software, with the help of CAAS in MAX MSP.
The formal aspects are divided into 5 parts - continuous introduction with instrumental gradation and percussive status. The second part is a dectension of the melodies, followed by the static harmony with gradation and the coda - where clarinet and violoncello play a de-tuning of the static harmony.
- for voice, gamba and live electronics - 2021 - (10´)
.les victimes de l'ombre is a piece dedicated to the victims of a heinous act that is often forgotten. It is a racial holocaust about which, unfortunately, the general public knows almost nothing - and, moreover, in this extreme situation, it is most necessary to remind all those who have their mouths full about the need to protect one's own race of this crime.
The sound of the baroque cello (Viola da Gamba) develops from noise and bustle areas. The piece begins very softly and quietly (mysteriously), gradually thickening until it develops into a more challenging texture and even into unpleasant, noisy sections. The transformation of softness into harshness is reinforced by the vivid electric processing of the sound (which also thickens more until it becomes the more dominant component of the piece). Quotations of the early-baroque song Flow, my tears are adapted into this process.
These "old music" inputs illustrate the background ignorance of contemporary society about the acts of racial holocaust.
The piece is also written for the French Viola da Gamba player Mélusine de Pas.
.funktionslust : C
- for 4 ensembles / orchestra - 2020/2021 - (15´)
Karl Bühler explains that the desire for function is a specific relationship of pleasure to function. the desire to function as a motivation for action .. the joy of function - a kind of self-pleasure -> the intention to do something without pursuing a specific purpose -
The piece is the fifth in the sequence, which elaborates this theme from the source material of the first piece .funktionslust - for kantele and electronics. The electronics is the result of the processing of the recording of the track for the kantele, and the track for the kantele is the result of the analysis of the voice of the Finnish player of this instrument, Juulie Pölönen, who recorded my pseudo-poem. The recording of her speech is also a fluid moment in the electronic track.
The compositions .funktionslust : horte, .funktionslust : R, .funktionslust : L and also the forthcoming composition .funktionslust : S(ub), which is to be performed as part of the Prague Spring Workshop with Klangforum Wien, are also made from this process.
.funktionslust : C (c = central = analysis of both electronics tracks). The piece is divided into four parts. Each episode lasts about 220 seconds. The first movement A and the last movement D work equally with all groups of the orchestra. In these movements, the material moves through frontal and panoramic acoustic space; the middle two movements, on the other hand, focus primarily on the dominance of the instrumental ensemble's right and left groups. Each of these movements draws on material from a different time area from the original recording and also differentiates itself into harmonic and rhythmic levels. This differentiation into four parts also goes through the rasterization setting of the analysis, resulting in a gradual - descending harmonic release of tension.
*Filharmonie Hradec Králové, con. Jan Bubák. 7.6.2021
.finitika
- for 2 singers, ensemble,live electronics - 2020 - (25´)
The common claim that we live in the information age, in the phase of information explosion, is wrong. Humanity is overwhelmed with data, not information. Planet Earth was hit by Nova Potopa - data backup. Only by arrangement, exposure and hierarchization can data be transformed into potential information. The work of anthropologist Jaroslav Malina and his collaborators follows such a transformation of data into information, as is evident from his current general and specialized encyclopedias and from the journal Anthropologia integra. The biological limits of man seem to indicate that humanity will not be able to cope with the flood of data. This fact may become the main syndrome of the final phase of the evolution of the human species. Finitics, the science of a fair end, may be the new science of the ultimate era.(https://www.researchgate.net/publication/300374057_Hladanie_Noemovej_archy)
*Ensemble Terrible, Barbora Jirásková, Annabelle Plum, Kateřina Dudová(director), Patrik Kako. 14.12.2020 - Alfred ve Dvoře
.funktionslust : R
- for ensemble - 2019/2020 - (12´)
Karl Bühler explains that the desire for function is a specific relationship of pleasure to function. the desire to function as a motivation for action .. the joy of function - a kind of self-pleasure -> the intention to do something without pursuing a specific purpose -
Karl Bühler explains that the desire for function is a specific relationship of pleasure to function. the desire to function as a motivation for action .. the joy of function - a kind of self-pleasure -> the intention to do something without pursuing a specific purpose -
*Festival Asynchrónie, Bratislava. Asynchrónie Ensemble, con. Peter Javorka. 21.9.2020
.funktionslust
- for kantele & fixed media - 2019 - (9´)
Karl Bühler explains that the desire for function is a specific relationship of pleasure to function. the desire to function as a motivation for action .. the joy of function - a kind of self-pleasure -> the intention to do something without pursuing a specific purpose -
- a composition written specifically for Juulia - in an effort not to create something to pursue a specific purpose - - to generate musical material I used the recordings of my poem - from the interpretation of the artist.
- 2019 - 11" for 5 instruments & live electronics(max_mps patch) /fl.,trbne.,p-sosp., vla., cb., + live electronics/
*festival AsynChrónie 2019,conductor Peter Javorka, 22.5.2019, LAB.VŠMU. Bratislava
.wenn ich schriee
- 2018 - 9" for ensemble /fl.,ob.,cl/b/-cl.b.,fg.,corn.,trba.,trbne.,2vni.,vla.,vcl.,cb./
*Ensemble Terrible, conductor Patrik Kako, 23.11.2018, Venuše ve Švehlovce. Prague
.o salutaris Hostia..
- 2018 - 8" for alto, violin,viola, tape - 7´30"
The basis of this work is a medieval three-part setting, whose fragments are used in the vocal line and electronic track. The original material mostly presents the environment of diatonic space along with the composer‘s own adaptation of chromatic and microintervalic relationships arranged according to serial techniques. On the one hand, the composition is a confrontation of the noise/deafness of our time. On the other, it was my goal to make an offering to finding peace and discovering silence… “give us your help in the battle with the devilish fiend”…
alto. Daniela Čermáková
Fama Quartet
October 3, 3018, Dominikánská 8, Praha 1, 19:30
Composition project by Department of composition, HAMU and Institute of musicology of the Faculty of Arts, Charles University. We bring the past into the present...
.14_93 .piano concerto
- 2018/2019 - 17" for piano and orchestra
piano : Jan Pudlák, Severočeská Filharmonie Teplice, conductor Jan Bubák. 18.12.2020, Teplice - Czechia
