about

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Being forever grateful for the music surrounding me from the moment I was born, and for the support coming from my family, it felt only natural to pursue a career in music with great passion and fulfillment. 

 

Known primarily in the contemporary concert music sphere - performed by world-renowned ensembles such as Klangforum Wien and Ensemble Modern, as well as orchestras and soloists - I also branched into game music in 2022. Games have always been a big part of my life, and it was specifically Jason Graves’ music for Dead Space that made me realize there is a place in games for all kinds of music.

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During my studies in both composition and performance (clarinet, French horn), I received my first serious commissions in 2017. Becoming both a performer (tenor saxophone, clarinet, bass clarinet) and a composer in Mirror Ensemble (directed by Daniel Šimek) led to the creation of Leemtes, later recorded at the Orlí Theatre, and Take Me to Places Nobody Owns. As the ensemble focused on minimal music, this was a great opportunity for me to gain deeper insight into the style, both as a composer and performer - an undeniably valuable experience for the future.

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The exchange program in Hague (Royal Conservatoire The Hague) in 2019 led to the ensemble work Limited Rising, which sparked my interest in unconventional instrument combinations. The ensemble consisted of flute, alto saxophone, electric guitar, percussionist (vibraphone & crotales), accordion and double bass. Since then, I have greatly enjoyed working with unusual instrumental lineups.

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In 2020, I took part in - and humbly won - the Microtonal Music Institute Competition (MicroFest Prague) with Lone Interlocutions on Floaty Peaks, performed by the outstanding horn player Daniel Costello. Around this time, I was finishing my French horn studies alongside my composition master’s degree. It is therefore no surprise that substantial horn parts appear in many of my works, often performed by my dear friend Bianka Soukupová.

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In 2021, coinciding with my growing interest in jazz (and my shift toward saxophone over clarinet as a performer), I was approached by one of Europe’s leading big bands - the Jazz Dock Orchestra. The result was Suphrydolyan, a playful piece combining big band influences with free jazz, contemporary aleatoric techniques, improvisation, and sound design.

 

My career then took a major leap thanks to the international Prague Spring Festival, where I had the immense honor of having my music performed by top musicians. Premiered works included Hexxa (2022), exploring “Korean unison”; Ishan’t (2023), a love letter to my grandmother and to the clarinet; and Awakening (2025), dedicated to my fiancée Emily Yi-Shyuan Chen.

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The year 2022 also marked my first notable game commission. I worked as a composer, sound designer, and audio editor on Horror Village Sukawedi by Kumagema. Although development was later interrupted, it proved to be a valuable experience and my gateway into interactive music system design. I later collaborated on two more games with Kumagema, and despite none of them being published, I was deeply motivated to enter - and remain in - the game audio industry. It offers something the contemporary concert music world often lacks: teamwork, close collaboration, and constant feedback.

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In 2023, a fruitful collaboration began with Berg Orchestra, which enabled me to write Resonant for my close friend Vojtěch Šembera, a baritone singer and composer. The Berg Orchestra also helped realize a project postponed by the pandemic - one of my more adventurous works - The Abyss. A spatial composition for seven clarinets, built largely around multiphonics. In 2025, I was invited as one of 25 composers to create a short “love letter” for the orchestra’s 25th anniversary. The result was an orchestral miniature titled Came Knockin’ On My Soul. I sincerely hope to continue collaborating with the Berg Orchestra in the future, as it is a truly one-of-a-kind ensemble in Czechia.

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In 2024, I composed the soundtrack for the whimsical adventure platformer Bushy Man. This was, so far, my smoothest and most enjoyable collaboration - largely thanks to the excellent communication of lead developer Tim de Waal. As the game called for a more retro approach, he kindly provided me with a Roland  SK-88 Pro synthesizer, which I sampled into Kontakt, creating my own libraries and templates for the project.

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The year 2025 was particularly rich: I was commissioned to compose And the Cold Was Tinged With Iron for a temporary trio formed by Bianka Soukupová, together with Radek Jablonovský (piano) and Anežka Nováková (percussion), as well as The Little Joys for Trio Aperto (Jan Charfreitag – clarinet, Barbora Šteflová – oboe, Pavel Horák – bassoon). Additionally, I became a listed composer with the Flashbang Arts agency, which manages my work in Chinese-speaking regions. This connection opened up opportunities to pitch for various games, including Monster Hunter Outlanders and CrossFire: Spectrum. That same year, I met one of my heroes - coincidentally just after contributing to a project alongside him - Austin Wintory. I participated in his week-long masterclass focused on interactive music system design for games (“Writing & Recording for Video Games” at HMW in Baden and Vienna Synchron Stage). This was a major highlight of my compositional journey, not least because of the incredible people I met there.

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In 2026, I completed my nearly year-long endeavor of scoring Duat: Beyond Light & Shadow, with the soundtrack released on April 2nd. This was my most demanding and exciting project to date, as I immersed myself in Egyptian mythology and, for the first time, composed, produced, wrote lyrics for and performed vocals for a song.​

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In 2015, I also began teaching, offering lessons in clarinet, saxophone, music theory, and composition. Working both as a private instructor and as a teacher at the elementary music school ZUŠ Náměšť nad Oslavou, teaching has become a significant part of my life.

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Most recently, I have been invited to an artistic residency at the Internationales Künstlerhaus Villa Concordia in Bamberg, Germany.This is both a great honor and a valuable opportunity to fully immerse myself in my work in the beautiful town of Bamberg, where several exciting projects are currently in development. I also continue to run my YouTube channel, where - alongside my music releases- I share educational and entertainment content focused on the music industry.