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Polish composer Kamil Kosecki explains why when he composes music, he is full of deep feelings and how you can have a richer artist life through more creativity.

What does music mean to you personally?

Music is my all life. I spend a lot of time with music. I play many instruments and I also sing. It’s very difficult to describe it. Music is about emotions. Usually when I compose music I am full of thrills and deep feelings.

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

If I were not a professional musician I would have been a painter or a filmmaker, graphic designer but only if I was born deaf.

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

I’m not worried about my future because I can’t force people to listened to modern music. It’s not their fault. As a modern composer I want to find the right way in composing music to convince them. I think that if you have something to say in music you will always have the audience.

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

Yes, I think that the classical musician today needs to be more creative. Lately I had problem with a pianist who didn’t want to scream to the interior of the piano at the stage. It was a culmination of my piece. I think that the more creative you are the richer artist you become.

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

Sometimes I hear music in my mind, sometimes I compose with an instrument. It depends of what I want to compose. The most difficult and also an amazing process of composing is creating electronic music because You don’t know how your piece will sound at all. The most important thing for me is to create something new, individual and natural. ‘Natural’ means to me that all traditional classical music You love is behind You and You as a composer are the modern continuum. I always think about it when I compose. It’s hard to say If I have my favourite piece of my music.

I try to compose music that after some time I hear it, I don’t want to change it.

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?

It’s beautiful to combine music with different arts. My electronic piece “Collisions of galaxies” was part of a competition for filmmakers Screen&Sound Festival 2016 in Cracov. I’ve seen about ten movies created to my music. It was amazing for me to see this and that the movie with my music called ‘Through the AlterSpace’made by Magdalena Jemielity won this competition.

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?

Yes, I agree. It’s because of the times we live but I’ve always had this idea in my mind about my profession: First - there is no art when You think about money, Second – When You think that there is no art when You think about money, the money will come.

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

Now I work on piece for saxophone and electronics. After that I will compose electric string quartet. Lately I work more on my individual style. I like experiments I ‘ve written many strange pieces in my past but now for me the more important aim is to compose something normal, fresh and modern.

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Our "Fantasy Notes - Contemporary Piano" Composer Grzegorz Miśkiewicz talks about his creative process and his compositions

What is your approach to music?

My approach to music depends on to whom I address it. It is a context - otherwise I write music for children and young people differently to adults. You have to bear in mind certain requirements, limitations or possibilities. In this sense it is a kind crafts. Besides, there is no music without craft. So down to earth that to think well of all the circumstances upon which the load-bearing capacity of my music. Always empathizes with the customer, I want to give people what I’d like to receive. This is the top layer, but underneath it is the only musical idea. No matter for whom something is designed, it is important that it was true, flowing from the soul, and myself moving.

What kind of music do you compose? Do you have preferences for the musical genres?

I write different music - for piano, choir and the mixed - vocal and instrumental. In choral music I’m always looking for the sacred element. It does not matter what is the religion. A belief counts in something that is supernatural, the supernatural should manifest itself in the sounds. Of course, I use the Christian texts, but they have a very wide moral, ethical, cultural connotation so that they carry with them something more than religion. It is a kind of common good, in which everyone can sign.

What is special about your piano music?
In the piano music is important the entire structure - melody, harmony, rhythm, tone. It’s all in the right proportions so as to maintain a happy medium. It has to be the breath of life, it has to be the smell and color of the beloved things, because I can see the music, not just hear. Hence my every song has a title, as in the music program.

You write much music for children. Do you compose for children differently?

In the editions of children’s music I always ask children to illustrate my tracks.
Composing for children puts me in a very nice psychological situation - everything in me unlocks, then each piece is formed within a few hours. When I put a more serious task, then it increases self-criticism and the work goes much slower.

Are you worried about the future of classical music?

Nowadays all music has its audience. Both this ambitious, as well as this, which in some circles is not worth mentioning. It is impossible to predict the future, but you have to work on the present so that the future underestimated the effects of this work. Work as best you can. If you manage to put in your works of universal value that you can sleep sleep of the just.

Now it is a common practice in the media to talk that the classical music is getting into the consumption business. We are speaking about the supply and demand rules and how to sell your “product”, your compositions. How do you see it?

Well, everything is a commodity, if we want to make a living. This does not mean that this product is of poor quality. He is only sold as bread or pears. There are people who need to earn some money. It is a pity that at least earns the creator or performer.
In my case - when I want to promote my music, then I give it to the publishing house. With this business I get a very small fees, but it is more so that consumers recognize me. Then I can offer them what they do not buy in a bookshop music, but only through me.

 

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