Interview with Moritz Eggert

"Too much music in this world is functional and purposeful; it lacks insight into deep human mysteries."

Moritz Eggert (born 1965) works primarily as a freelance composer, but also frequently appears as a pianist, conductor, performer/actor, singer, and blogger. Born and raised in Heidelberg, as well as in Mannheim and Frankfurt am Main, he began playing keyboards in various rock and jazz ensembles while still in school. This was immediately followed by years of study as a pianist and composer in London and Munich, among other places. From the outset, he has worked in all musical genres – his catalog of nearly 300 works includes not only 19 full-length operas, but also several ballets and works for dance and music theater, orchestral music, chamber and ensemble music, vocal and choral music (with a strong focus on art song), church music, experimental and electronic music, instrumental concertos, music for children and young people, film and radio music, as well as music for radio plays and open-air performances.

You first studied piano and then composition. Did you always want to compose?
I actually studied both simultaneously quite quickly – for me, they were inextricably linked: because I was a pianist, I wanted to compose, and because I was a composer, I wanted to play. Now, the emphasis is certainly more on composing, but for a long time, both activities were perfectly balanced and complemented each other.

Since 2020, you have been the president of the German Composers' Association. Why is this association necessary?
It's a professional association that represents the interests of music authors of all genres (contemporary music, film music, singer/songwriters). In times of increasing inequality in remuneration and many upcoming challenges (for example, the issue of AI), I think such an association is particularly important. We recently launched a job board for composers, which aims to connect them with private clients – a unique idea that doesn't yet exist anywhere else in the world.

You are also an author and write articles for print and online media about new music. In your opinion, how has new music changed in recent years?
I hope it continues to evolve… The term “new music” is, of course, problematic – “New Music” with a capital “N” is hardly used anymore; “new music” can mean anything, simply music today, including pop and film music.
What isn't commercially driven is often described as “art music” or “contemporary music,” but neither term is ideal. I prefer to use “free music.” To summarize the so-called classical music scene briefly: the trend is toward countless small musical subgenres and, overall, less dogmatism. It has become significantly more difficult to be perceived as an individual voice, especially for emerging artists, while international exchange has grown considerably.

What should new music be like, and what shouldn't it be?
It would be terrible if anyone were to define that. I think it's wonderful when new (free) music represents a wild space where everything is possible that is otherwise impossible in music. Too much music in this world is functional and purposeful; it lacks insight into deep human mysteries. Ferruccio Busoni was right: "The art of music is born free, and to become free is its destiny." Said a hundred years ago, and still relevant today.

What does classical music mean to you?
The term "classical music" doesn't mean much to me—I only know music history (a much larger field than most "classical music lovers" realize) and contemporary music. Since music itself means a great deal to me, both music history and what's happening today mean absolutely equally to me.

What would you like to do in the field of music that you haven't done yet?
That's actually difficult to say, since I've already done quite a lot of crazy things. I simply want to continue as I have been—always new challenges, new impossibilities to overcome.

Which contemporary composers do you find particularly interesting and why?
That would be a very, very long list. If I only mention a few, they would be oddly singled out, and those not mentioned would be offended because I didn't name them. I can only lose in that situation, especially since I know that colleagues will be reading this. I would say, however, that there are many wonderful talents today, just as there always have been. And the most interesting ones aren't always the ones who get the most applause (although that does happen too).

Where does music reach its limits?
Music has no limits.

Why is classical and contemporary music so important anyway?
Because only music from today can explain to me the things that are happening today.

What passions do you have outside of music?
Sports (ultramarathons, swimming marathons), board games, whisky, films, and much, much more.

Interview by Florian Schär | Classicpoint.net | March 1, 2024
Photo: Astrid Ackermann

Next concerts

August 21, 2026 - Moritz Eggert (piano)
May 22, 2027 - Eggert: The Depth of Space. A Football Oratorio (Film Opera)