Caroline Leisegang, composer

Who or what inspired you to pursue a career in music?

I can’t pinpoint a solitary moment or thing, but maybe the best answer would be the people around me who unknowingly helped me stumble my way into being and becoming a musician. It takes a universe of sounds to inspire you, a universe of moments; one day when I didn’t really know how or what I was going to do with music, I started to compose and that’s probably my biggest inspiration – once you realise you can create one piece, you can create more!

Who or what have been the most significant influences on your musical life and career as a composer?

Not to sound completely clichéd, but my parents have been my most significant influences. They have championed me on through everything involving music. They’ve encouraged every project and been my greatest supporters – and that’s a big deal when you have a solid foundation of support.

What have been the greatest challenges/frustrations of your career so far?

I think my greatest challenge has to be myself. I spend a lot of time coming up with plans and ideas and I honestly think that I get in my own way sometimes because of my impulsiveness. I am the most difficult person to reason with, but maybe being unreasonable can be a stepping stone to success – I’ll let you know when I finally get out of my own way!

How do you work? What methods do you use and how do ideas come to you?

This is a question I always find so difficult to answer. I work in a very stuttered way – I can write absolutely nothing for months and then sit down one weekend and write an entire body of work. I feel as though I’m constantly absorbing inspiration and colour and because of that, I believe I’m always “writing”, but to say I have any true conventional methods, would be a lie. When I’m ready to put pencil to paper and paste the ideas together, I usually write out a structure and then try fit the ideas in.

How would you characterise your compositional language/musical style?

Repetitive. I find a lot of comfort in repetition – from listening to songs or pieces on repeat to reading the same book over and over. Through repetition, I think I can create more meaningful music where the listener can truly get the best possible experience of what I’m trying to say to them.

Of which works are you most proud?

I’m definitely most proud of COMES THE NIGHT. The reason being that I’ve never attempted to write for strings before and always been a bit afraid of it. This work, I figured I’d had nothing to lose and if you don’t ever try then you won’t ever know.

As a musician, what is your definition of success?

Being able to connect with the listener. If you can reach one person’s soul with the music you write… it doesn’t get better than that.

What advice would you give to young or aspiring composers?

I would tell young or aspiring composers to learn as much as they can about the industry they want to be a part of. You have to be brave and stand by the music you write, unflinchingly, because at the end of the day you want others to be part of your journey and if you can’t advocate for the music you write, then you can’t expect performers to play or an audience to receive. I think I’d also tell them that you can’t be shy of putting yourself out there in the world.

What’s the one thing we’re not talking about in the music industry which you really feel we should be?

Female Classical Composers, what your rights are to the music you write, how to become a recording artist as a classical musician/composer, and lastly – that it’s ok to be authentically yourself without any airs or graces.

What is your most treasured possession?

My Steinway Pianina