Pierre Schroeder and The Inside Story: Moving from Architect to Classical Composer

French-American composer Pierre Schroeder, who had his PARMA debut on Navona Records 2015 with VOYAGE, is back again as a featured composer on the compilation album TOMORROW’S AIR. Schroeder’s music has been said to have an emotional, cinematic style. He is an active composer of classical chamber music and jazz, with credit in films and soundtracks, most notably of the documentary “America the Bountiful.” Today Schroeder is out next featured artist in “The Inside Story,” a blog series exploring the inner workings and personalities of our artists. Find out how Schroeder went from Architect to Composer.

Who was your first favorite artist(s) growing up?

It is very hard for me to name just a few but, and somewhat in that order of discovery, I’d say, Chopin, Ennio Morricone, Keith Jarrett, Leonard Cohen, Pink Floyd (…) were extremely important and influential to me.

When did you realize that you wanted to be an artist/composer/creator?

My parents really wanted me to be an engineer, and it took quite a bit of thinking and maneuvering to stir away from their expectation, without a head-on collision! Architecture had the advantage of being related to engineering, but with a more artistic side to it, and the perspective of far less formal studies and environment. And from there – although 5 years into architecture – musical composition wasn’t that far anymore, drawing plans for woodwinds, piano, strings, instead of wood, metal, glass.

If you could do any job in the world and make a living at it, what would it be?

Music composition, of course!

Tomorrow's Air

Was there a piece on your album that you found more difficult to compose/perform than the others?

“Late Harvest” isn’t – I don’t think – the most difficult piece to perform. But it is very emotional and passionate in nature, which any good soloist would most likely convey in a satisfactory manner. But now, for the piece to be successful, you are asking a group of people, an ensemble, to feel and speak the same way, together and with one voice. And that is extremely difficult in a short rehearsal time when players barely have the opportunity to discover and master that feeling in a specific musical context, let alone to portray it together.

What does this album mean to you personally?

This is a compilation with six composers, and I believe I am in very good company! It is a great opportunity for “Late Harvest” to be heard in a homogeneous classical orchestra context.

Is there a specific feeling you want listeners to tune into when hearing your work?

I wish we’d still have the time to listen to music, with the sole focus of total immersion, like headphones or ideal sitting in a concert hall can provide. The result wouldn’t be so much a specific feeling, but rivers of them, taking us with no limits!

TOMORROW’S AIR, featuring composer Pierre Schroeder, releases Friday, September 8th on Navona Records. Pre-order here

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