Katarina Pustinek Rakar

The Slovenian composer Katarina Pustinek Rakar (b. 1979) studied music theory, oboe, singing, and composition in Ljubljana. She is actively involved with the best Slovenian choirs, is a member of the Slovenian Philharmonic Choir, and teaches sol-fa and music theory at the Ljubljana Conservatory. Her compositions comprise mainly vocal music (children’s songs, works for youth, women’s, male voice, and mixed choirs), and she is regularly commissioned to write for these groups.

1. You’ve set several poems by the English writer Christina G. Rossetti – these choral works are published by Carus. Why this poet in particular?

I discovered Mrs. Rossetti by coincidence when I participated a choral composition competition and one of the terms at that particular competition was to use Rossetti’s lyrics. The composition I wrote is something special amongst my pieces – “Remember” – and I found out while composing it, that there is a unique bond between the words and my music. That is actually not easy to achieve – to find a poet whose words describes your thoughts and feelings completely. Especially if the words are not in your native language.

Afterwards, participating another competition, when I needed some lyrics in one of the world most spoken languages, it was a natural choice that I started to dig through some more of her poems.

2. You studied music theory, oboe, singing … and composition. When did you begin to concentrate on composing?

It was actually very hard for me to decide, which musical path I should choose. I was interested in so many things!

Beside the disciplines you’ve mentioned also music theory, solfeggio or sight singing (Ger.: Gehörbildung), conducting, choral singing and choral conducting.

In Ljubljana, in the time when I applied for the study at the Academy of Music, there was limited choice of the things I’ve listed. The study of composition came with the study of music theory so I chose that programme at the University but at the same time I still played the oboe, conducted and sang in choirs, had singing lessons and attended seminars in Slovenia and abroad. With time I realized, that it all became too stressful for me and that I have to focus on less music fields, because I cannot master them all.

In the days of my study I got my first commissions. It was obvious that I have lots of experience with voice and singing technique and that I’m very familiar with the sound of the choir. So I was getting commissions from the beginning for choral songs and songs for solo voice with accompaniment and similar.

Composing is still not the main thing that occupies me in life but is definitely an important one. I’m a teacher at the Conservatory and at the Academy for Music in Ljubljana – a profession that requires a lot of my energy and time. I have a family and I also love to do lots of other things that are not connected with music.

3. Which composers inspire you?

Tough question! Every composer that piques my interest with the composition. Does it tell me a story and have passion? I’m also aware of the harmony and structure.

I don’t have my favourite name, but a particular composer gets my attention for example when I have to present his work to students or when I perform a piece and I admire homophonic or polyphonic structure of composition or sometimes I hear a piece I like on the radio. It can be medieval song, a classical piece or even a popular song that gets my attention, but once again: it has to have a story and passion. You can hear that in someone’s music after first note or – on the other hand – you can still search for it after 20 minutes of listening. I think listening to that kind of music is a waste of time.