Martin Smolka (born 1959 in Prague, Czechoslovakia (now Czech Republic). Studied composition at the Academy of Music (J. Pauer, C. Kohoutek), but the most significant were for him the private studies with Marek Kopelent.

His work has won him recognition both at home and abroad. He has written commissioned pieces for prestigious festivals (Warsaw Autumn 1987 and 1999, Donaueschingen 1992 and 2000, Berliner Musik-Biennale 1993 and 1997, Nov-Antiqua Koln 1996, Bang-On-a-Can-Marathon New York 1996, Wittener Tage fur Neue Kammermusik 1999, musica viva Munich 2000 etc.) and his works have been chosen for performance at other important festivals and events (ISCM World Music Days Oslo 1990 and Copenhagen 1996, Witten 1990, Donaueschingen 1995, HÓrgNnge Wien 1996, Tage Neue Musik Stuttgart 1997, Klang-Aktionen MAnchen 1998, ECLAT Stuttgart 2000 etc.). The Agon Ensemble has performed his music in many different venues (Berliner Festwochen 1992, Concerti sulla musica contemporanea, Assisi, Italy 1992, Budapest Spring Festival 1993, Warsaw Autumn 1993, South Bank Centre, London 1994, Musique Actuelle Victoriaville, Canada 1996, Vilnius, Lithuania 1997, Tallin, Estonia 1997, etc.).

His music have been recorded for broadcast by various radio stations (Czech Radio, Deutschland Radio Koln and Berlin, SWF Baden-Baden, CBS Vancouver, RiTV Warsaw, et al) and by Czech Television. Much of his chamber music has been recorded on CD by the Agon Ensemble.

In 1983 he co-founded Agon, a group specializing in contemporary unconventional music in which he worked as artistic director and pianist till 1998. In the course of Agon projects he has also carried out research (quarter-tone music by the pupils of Alois H†ba, the 1960s in Prague), and the realisation of graphic scores and conceptual music (the works by John Cage, Cornelius Cardew, Daniel Goode, Milan Grygar and others).

He co-authored the book "Graphic Scores and Concepts".

Composition is Smolka's main occupation, but he also works as music improviser for theatre, teaches, and occasionally publishes.

In 2000 Breitkopf und Hrtel started to publish his works.

• Tears, string trio (1983),
• Music Sweet Music for ensemble with soprano voice (1985/88),
• Music for Retuned Instruments (1988),
• Ringing for solo percussion (1989),
• L'Orch pour l'orch for orchestra (1990),
• The Flying Dog for ensemble (1990/92),
• Rain, a Window, Roofs, Chimneys, Pigeons and like... and Railway-Bridges, too for chamber orchestra (1992),
• Rent a Ricercar for ensemble (1993),
• Three Pastora motifs for tape (+ designed upright piano as a visual object, 1993), Rubato for violin and piano (1995),
• Three Pieces for Retuned Orchestra (1996),
• Euforium for ensemble (1996),
• Lullaby for trombone, guitar and ensemble (1997),
• Lieder ohne Worte und Passacaglia (1999) for ob,fg,cn,vla and cb, (1999) for 3 orchestras,
• Blue Note (2000) for percussion duo, Walden, the Distiller of Celesrial Dews (2000) for mixed choir and percussion.