Goetz Oestlind

Pianist and Composer




Goetz Oestlind (*1977) studied piano under Conrad Hansen’s alumni Gisela Stumme and Prof. Lev Natochenny. He completed his studies of Applied Cultural Studies with a Master’s degree (M.A.) and earned his Ph.D. with a dissertation on “Counterpoint in Film Music”. Oestlind’s compositions arouse desire and create drama, and they touch deep down inside: “For me and for the power of music, it is the greatest gift of all when my songs capture the listener’s heart.” In the fast-moving ages we live in, we are continuously distracted by the outer dominance of our professional and private life – from our essence, our personal wishes and talents. In 2013, Oestlind gained sustainable access to his inherent gift of composition. In 2009, he and David Harrington formed “David & Götz” (www.davidandgoetz.com). The piano duo performs its brilliant show, at two Concert Grands, in German theatres, city and concert halls. They go on concert tours abroad, with recent highlights among others in Moscow, Tokyo and Dubai. Home - David und Götz – Die Showpianisten davidandgoetz.com



What does music mean to you personally?

Music is my life – I am working as a pianist for more than 20 years. 10 years ago I started to compose and I feel blessed being able to channel all these beautiful melodies from above.

Do you agree that music is all about fantasy?

No, I guess a better origin for my compositions is inspiration. I work a lot with prayers and contemplation.

If you were not a professional musician, what would you have been?

I am a professional musician. I have been playing more than 500 shows with the piano duo “David & Götz”, which is quiet successful in Germany since 10 years. And I am very grateful that my compositions are heard on streaming platforms regularly.

The classical music audience is getting old, are you worried about the future?

This is indeed a problem. Listening to most radio stations bothers me, there is almost no art within today’s music. I create my own style and a main future goal is to compose for movies. John Williams, Dario Marianelli, Alexandre Desplat are contemporary composers who share their inner beauty with their audience via Hollywood productions – they have an audience. But the audience for the great masters of the last centuries will reduce further on – this is pretty hard, the loss of musical culture will accelerate in the next decades.

What do you envision the role of music to be in the 21st century? Do you see that there is a transformation of this role?

I am afraid - comparing today’s pop music with the pop music of the last decades makes little sense. Think of The Beatles, Prince, Michael Jackson, Madonna, Elvis, The Doors, Elton John, Frank Sinatra – their music was art for my personal taste. On the other hand, there is a countermovement to every movement at some point – that’s my individual hope.

Do you think that the musician today needs to be more creative? What is the role of creativity in the musical process for you?

When I am composing, mostly I let everything flow. It is more like being a channel – when I want to be just creative my head starts to work, but real inspiration starts in your gut.

Do you think we as musicians can do something to attract the younger generation to music concerts? How would you do this?

I guess the best way is to enthuse the young people to musical and movie scores. These stylistics are a good approach to force a bridge to classical music. Another way is not to perform only, rather to moderate the concerts like Daniel Hope is doing.

Tell us about your creative process. What is your favorite piece (written by you) and how did you start working on it?

As written before, it is all about inspiration. My favorite piece is my “Piano Sonata No.2 in D Flat Major, Op. 7/1”. My ideas start mostly with a main theme I am varying in the process of composing. For example the idea of the 2nd Movement of this Sonata was just a 2-seconds-theme, a harmonic turn from D Major to D Flat Major with a melody B-A-A flat. Afterwards I am able to use variations like Major/Minor, creating melody left/right, piano/forte, maestoso/dolce, different keys etc.

Can you give some advice for young people who want to discover classical music for themselves?

Be open, don’t hesitate to deal with the great masters of the last centuries – this music will be known in 300 years also, but nobody will know most of today’s pop and rock musicians. Whether your friends advise you against classical music, keep cool and try to play or listen to Beethoven, Chopin or Rachmaninov.

Do you think about the audience when composing?

Sometimes. Today the audience for Piano Sonatas is smaller than for calm and silent piano compositions. But never lose your authenticity.

Many thanks for this interview and best wishes for all of you! Goetz