What does music mean to you personally?
To me, music is about conveying something. Every piece of music has inherent meaning, and conveys something about the composer, whether that message is positive or negative.
Do you agree that music is all about fantasy?
No. Music can represent anything, from fact to fiction, and even a combination of the two.
If you were not a professional musician, would would you have been?
It’s impossible to say, although I will say that many fields interest me, including sport, economics, architecture, mathematics and science.
The classical music audience is getting old, are you worried about your future?
I’m not, although I think a lot of people should be. Apart from classical music composition, I am also an electronic music producer, and so I have no fear of being left behind.
What do you envision the role of classical music to be in the 21 century? Do you see that there is a transformation of this role?
I think that people will look back on this period in history as the ‘film music’ era, or the ‘pop music era’, or the ‘electronic music era’. Classical music has been largely overlooked, although it is supposedly utilized in films and games – however the standard of these ‘classical’ works is questionable. Unfortunately, orchestras are being replaced by electronic music libraries, and most of the music heard on television and in movies and games are electronically arranged, making the music performer redundant.
When I say that classical music is searching for new ways or that the classical music is getting a new face, what would come to your mind?
Classical music needs to be integrated largely into pop culture; it’s the only way for music growth and development to take place. At the moment, the system is stunting music development. Classical music’s face is the same as it has always been, however we have seen a shift in the amount of people who appreciate it.
Do you think that the classical musician today needs to be more creative? Whats the role of creativity in the musical process for you?
In my opinion, classical music and electronic music need to be merged in order to pave a road forward. The issue is that classical musicians largely have no interest in integrating themselves into the electronic music scene, and electronic producers largely have no formal training in music.
Do you think we musicians can do something to attract young generation into the classical music concerts? How will you proceed?
Classical musicians need to improve their business senses and be open to the incorporation of electronic music into the classical sphere. Most classical musicians have absolutely no idea how to promote themselves effectively, and there are too many false musicians in and amongst them with better business senses who are currently at the top of their game, regardless of their musical abilities.
Tell us about your creative process. Do you have your favourite piece (written by you) How did you start working on it?
I’m currently working on a debut electronic art music album, and I wouldn’t be able to choose a favorite piece from it, they are all very close to me. In terms of my creative process; when I write a classical piece of music, I will either begin with an improvisation and refine it – resulting in tonal and diatonic works in a neo romantic/baroque infusion style, or I will begin with a motivic or structural idea and develop it, resulting in a more post-modern late-romantic style. When I write electronic music, I always have a pre-determined idea and set of limitations about the piece I want to write.
We, Moving Classics TV, love the combination of classical music with different disciplines: music and painting, music and cinematography, music and digital art, music and poetry. What do you think about these combinations?
Once again, conveying meaning through music is important to me, and programmatic music is a big part of that. I teach all my students how to correctly convey certain imagery and poetry in their music.
Can you give some advice for young people who want to discover classical music for themselves?
There is an ocean of music available on streaming services like YouTube, go out and explore it, and if you can, try and support the artists which you appreciate the most.
Now it is a common practice in the media to talk that the classical music is getting into the consumption business, do you agree? We are speaking about the supply and demand rules and how to sell your “product” in your case your compositions. How do you see it?
I think that music has largely become a commodity and that the focus is primarily on the sell and not the expression. This is the problem which has led to the current state of the industry. Record labels, radio stations, DSPs and other platforms for artists need to focus more on musicality and music development, and less on their own personal agenda when choosing which artists to support.
Do you have expectations what regards your listeners, your audience?
No. I hope that everybody who listens to my music can have their own interpretation. Music should be open to interpretation, and I try not to be too descriptive when explaining what my works are about to me, in order not to influence the experience of my listeners.
What projects are coming up? Do you experiment in your projects?
Currently, I’m writing many short piano compositions, as well as a piano sonata and violin sonata. I also have a debut electronic album in the works, as I mentioned before. Apart from that, I’m working on a very exciting project in the music and tech spaces which I hope will aid in a shift in the global perception of music, and support niche and greatly overlooked artists in this largely popularized industry.