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Jakub Rataj is a Czech composer who specializes in orchestral, chamber, and electroacoustic music. His work delves into the physicality of music, examining the interplay between sound and the human body. His compositions are performed worldwide and have been commissioned by leading ensembles, festivals, and organizations. A recipient of numerous awards, Rataj has participated in prestigious residencies and collaborated with notable musicians, choreographers, and directors. Since 2015, he has served as a sound designer and music director at Czech Radio. He studied composition in Prague and Paris, completing his doctoral studies under Luboš Mrkvička. Currently, he teaches at the Ladislav Sutnar Faculty of Design and Art at the University of West Bohemia in Plzeň, where he also created the ceremonial fanfares used by the faculty for special occasions.

In your work, you focus on the dialogue between sound and the human body. How does this concept translate to composing ceremonial music, such as fanfares? Does it play a role? What inspired your fanfares for the Ladislav Sutnar Faculty of Design and Art?

As Ondřej Galuška wrote in his book The Body of Music—music is a phenomenon that emerges from the human body and speaks to it. I believe this holds true. In the case of ceremonial fanfares, it depends on which musical parameters we focus on. My approach was rooted in the idea that this music would accompany individuals participating in a specific ritual, whether receiving a diploma or stepping into a new territory with energy and purpose. I aimed to reflect this pulse, energy, and walking tempo in the music.

When composing the fanfares for the Ladislav Sutnar Faculty of Design and Art, I started with formal considerations, such as the ceremony's structure. I knew the approximate lengths and roles of individual musical segments. The music needed to underscore the significance of the occasion, celebrating individuals either beginning or concluding an important life chapter. The central theme had to be festive and celebratory, carrying a sense of hope without becoming overly grandiose. At the same time, I wanted the music to resonate with the creative spirit of the faculty, which fosters unique artistic works across various disciplines.

Do you think a sound logo can be as important as a visual logo for an institution?

I'm not sure I can definitively say whether a visual or sound logo is more important. One could argue for the visual, as we live in a visual-centric world, and light travels faster than sound. However, I believe a well-designed sound logo can have far greater potential than we might realize. For instance, the specific chord you hear when booting a certain computer brand becomes a recognizable signature of the product.

How do you view your role as a teacher at the Ladislav Sutnar Faculty of Design and Art?

I see the Ladislav Sutnar Faculty of Design and Art as an incredibly creative environment. From the very start, I've been genuinely inspired by the ideas, enthusiasm, and passion students bring. Being able to open up questions or help students develop what's already within them, providing the right impulse at the right moment for their creative work, is immensely rewarding.

Your compositions have received several significant awards. How have these successes impacted your career and creative development?

It would be disingenuous to claim that awards or nominations don't matter to me. However, when I'm working on a piece, I never think about awards or recognition. In fact, I rarely apply for them myself. Awards can help by bringing attention to your work through the media, which might lead to new opportunities. I've participated in international residencies because of such exposure.

That said, the most meaningful experiences for me come from direct interaction with performers, composers, and audiences at concerts and festivals, whether in the Czech Republic or abroad. These encounters foster the exchange of ideas, perspectives, and experiences, often leading to collaborations.

You’ve collaborated with choreographers, visual artists, and directors. How do you approach blending music with other art forms?

Collaborations with directors—whether in theater or film—or within contemporary dance are areas that fascinate me and always feel like stepping into the unknown. This unpredictability is what I enjoy most. It’s a stark contrast to composing in isolation, where I have complete freedom. Collaborative work challenges me to remain true to my musical thinking while being open to the ideas and visions of my collaborators.

Your works have been performed at international festivals, and you’ve worked with many renowned musicians and artists. Which collaborations have influenced you the most, and how?

Every collaboration with live performers is significant to me. After working on a composition alone, engaging with interpreters allows me to test my ideas and see whether my expectations were realistic.

If I were to highlight a few key collaborations, I’d start with the German ensemble Trio Catch, for whom I wrote Interludium – Origin's Ichor. Working with them was exceptional because when I arrived for our first rehearsal in Hamburg, the piece was nearly complete. We focused on fine-tuning every detail—dynamics, frequencies, articulation.

Another remarkable experience was with the Austrian ensemble Klangforum Wien, one of the world’s leading contemporary music groups. Similar to Trio Catch, but on a larger scale with around twenty members, their precision and passion were inspiring. Every member's dedication enriched the performance and interpretation of the piece. These experiences are invaluable, as they deepen the exchange of ideas and elevate the final work.