Formula Indie Sessions – Interview with Martin Sven Moritz
What is your earliest memory connected to music?
Oh wow, good question. That goes back a long time. I was dancing together with my older brother on the beds in our room. I was four years old, and the music was “Rivers of Babylon” by Boney M.
How did your passion for creating music begin?
I think that came naturally when I was learning the piano as a teenager, both classical and pop/rock. At some point, I started improvising and singing the songs I liked, and just playing the music was never enough. I wanted to go beyond that.
What’s the story behind your current music project?
The title is “Between Rain and Sunshine,” and it is an instrumental piece for solo piano. It is inspired by that moment when the sun returns after rain, or breaks through between showers: the beautiful and peaceful transition of that moment. You can still see traces of the rain in the raindrops on the window, now illuminated by rays of sunlight. I feel it is driven by a longing for peace and beauty, and by a love of nature—things that are at stake at the moment too.
In addition, I love art and other creative disciplines, particularly oil painting. That is why my album covers always feature beautiful art. At some point, this evolved into creative collaborations, so this time the painting was inspired by the music and beautifully created by the Polish-Canadian painter Aleksandra Yasinowski as part of a bigger project called “Symphony of Colours,” in which we create music and art together.
How would you describe your sound to someone who has never heard your music before?
I would describe it as Romantic-era-inspired contemporary classical piano music. My sound is usually cleaner than that of much modern piano music, which often uses prepared or felt pianos. My compositions are more melodic and dynamic, rather than texture- or pattern-oriented. In a way, I would describe them as instrumental songs leaning towards traditional classical piano music.
What is one thing you’ve learned that completely changed the way you make music? Exploring melodies I wrote for pop and musical theatre and adapting them for my classical and instrumental music completely changed my approach. I found that the Romantic classical influence gave me much more freedom in terms of structure, dynamics, and pianistic elements that are usually no longer used in pop music, such as trills.
What tools, instruments, or software are essential in your creative process?
Usually, just a piano, notation software, and my voice. I often hum melodies and melodic progressions. This tells me where a melody wants to go.
Which indie artist or song are you loving right now?
Right now, I am listening to the Phishbacher Trio (jazz).
How have your personal experiences influenced your music and artistic vision?
My music comes from my personal experiences; it is who I am and what I care about. I started publishing my music only two years ago, at the age of 48. So, apart from three pieces I wrote as a teenager, I came to it with a package of life experiences, memories, and musical influences that found their way into my music.
What emotions or messages do you hope listeners take from your work?
I hope they enjoy it, first of all. Music is about joy. And I hope it lets them reconnect with things that can easily get lost in today’s noisy world: the beauty of life, the beauty of themselves, the beauty of the people around them, the beauty of nature, and the beauty of art and music. I don’t want to shine a light on all the bad things happening in the world. I want to remind people of the beautiful things that matter and are worth protecting.
What’s the most important lesson music has taught you so far?
It enhances life. It is one of the most joyful things in life, without a doubt. Life without music would be tragic, unimaginable. For me, it is a core element of humanity.
What is a dream venue or festival you would love to perform at?
I do not see myself as a performer. I am a composer, and I don’t want to be a touring artist. Actually, I need the time to create even more music. When I finish a piece, I usually don’t go back to it or play it; I start working on the next one. I do hope that many artists will be inspired by my music and play it. If there is one dream, then I think I would love to have my melodies arranged for orchestra and played in a famous venue, such as the Royal Albert Hall during the BBC Proms. But it will not be me performing. I will sit in the audience and enjoy it. I am really not made for stages.
If you could collaborate with any artist, past or present, who would it be and why?
I am a big fan of Yiruma, so I would be thrilled to know what would happen if we worked on a melody together.
Where can our listeners follow and support your music? (Website,Spotify, IG, links)
https://www.martinsvenmoritz.com
Spotify: https://open.spotify.com/intl-de/artist/0q3opfrGDS3J2zhyDEB3k6
I would also like to credit the painter involved in this creative collaboration, Aleksandra Yasinowski, if possible: https://82studio.ca/
Looking toward the future, what’s your dream for the next chapter of your musical journey?
Honestly, I hope that more people, particularly classical radio stations in Germany, will explore my music. At the moment, I receive a lot of attention from all over the world, which is wonderful and something I am grateful for. But not being seen in my own country, which is also the homeland of so many composers, feels rather strange.
What do you hope listeners will discover about you along the way?
That I create and publish music in order to give back. At this stage in life, I am very grateful for the experiences and opportunities I have had so far. Now I want to give back: to bring a little more lasting light into the world, share something beautiful, and inspire others.
