I believe the greatest challenge for today’s composers is that contemporary classical music is still not seen as an undeniable part of the classical music world. Worshipping the great masters of the past has been for a long time the main aspiration for musicians all over the world. But a lot is moving in an exciting direction right now.
The inspiration for my compositions can come from a great conversation with the filmmaker, the film itself or a certain scene. I like to be as open as possible in the beginning.
I’m interested in a kind of clarity and perhaps simplicity although I really like dense sounds which feel like they might overwhelm you.
In general, I am looking for ways of creating satisfying continuity out of asymmetrical material in both pitch and time. Sometimes I am also very interested in blending colours .
I create a new vocabulary for each project I work on. I don’t believe in stamping my personality all over what is required for a film’s score to compliment the narrative. However, with my own albums I tend to follow my intuition which leads me into a lot of sounds that I love.
Who or what were the most significant influences on your musical life and career as a composer? That would have to be some combination of