Mark Maarder

Composer and poet




Mark Maarder is an American composer and poet. Born in the former Soviet Union, he studied music and literature in Europe and in America and lived in numerous countries.​

Starting his musical education at the age of six, Mark studied theory of music, piano, and violin with Vladimir Mevius for the next ten years. As a teenager, he moved to the United States, where he studied with Randall Woodfield.​

Mark Maarder has worked with musicians from all over the world, his compositions have been performed and recorded both in Europe and the United States, and his videos have received millions of views.​

Just like his music, Mark's poetic style ranges from classical to modern. Sometimes unabashedly simplistic, sometimes strongly allegorical, most of his poems contain a clearly identifiable rhythmic structure which complements the meaning of the words. Mark has also translated many works from other languages into English. His translations strive to achieve the difficult balance between remaining close to the original text and, at the same time, eloquently conveying the meaning in a different language.​

While varied structurally and stylistically, Mark Maarder's music and poetry always reflect that which is unique about him - his multicultural upbringing, his diverse education, and his profound experiences.




What does music mean to you personally?

I simply can’t imagine myself without it.

Do you agree that music is all about fantasy?

I wish I could say that I know what music is actually all about, but I don’t think I do.

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

I still am, in my heart, a paratrooper. I love the sky.

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

I am not worried. Classical music is not going to disappear. That said, we do need to attract more young people. And more old people, for that matter.

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 don’t think I can make predictions about the role of classical music, but I do see a lot of very interesting developments in it, even if considering only the amazing speed of technological advancement that we are all witnessing.

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?

That I will do everything I can to make this new face a beautiful one.

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

I wouldn’t describe it as more creative, but one thing is for sure - modern musicians, myself included, have to know more things outside of the actual music field, probably more than ever before. Social media is just one example of this. It has become so important to most artists’ careers that it requires its own distinct brand of creativity.

Do you think we musicians can do something to attract young generation into the classical music concerts? How will you proceed?

Play good music, promote good music, write good music. That is what audiences react to, regardless of age.

Tell us about your creative process. Do you have your favorite piece (written by you) How did you start working on it?

When I start a piece, I usually just have a general idea about how I want to construct it, but I don’t know where exactly it’s going to end up. And I think it’s part of the fun. As far as favorites – it’s most often the piece I just completed.

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?

Muses complement each other. Of course I love all these disciplines, and combining them gives us infinite possibilities.

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

Just listen to it. Start with the giants. They are there for a reason.

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?

If you are staying true to yourself and your art, there is nothing wrong with being paid for it. Well paid, if possible.

Do you have expectations with regard to your listeners, your audience?

No. If they are my audience, they’ve already paid me the biggest compliment by being there. Everything else is added bonus.

What projects are coming up? Do you experiment in your projects?

Every composer has to experiment in order to keep developing. I have a piece for violin and bass currently in the works which most of my listeners will probably find different from my usual style. I hope you watch the video when it’s released, and let me know what you think!