Meet Christian Schittenhelm, an acclaimed French composer of the Hymne de la ville de Paris and was once awarded the Prix académique Sacem. Many of his works are widely performed, and two of his symphonic poems were chosen by Marcel Landowski, Chancellor of the Institut de France. The two newly released albums, “Back Home with the Moon” and “Air,” feature works written by Schittenhelm. Back Home with the Moon features 17 pieces for solo piano, all written by Schuittenhelm, while Air features two of Schuittenhelm’s compositions in addition to Claude Debussy’s Prélude à l’après midi d’un faune. In the conversation with Schittenhelm, he shares his musical background, his inspirations for composition, and his working relationships with the musicians involved in the two albums.
Your biography states that you were first signed as a pop singer, author, and composer. Your compositions also include a wide range of genres.
Christian Schittenhelm
My music is, above all, defined by a life journey. When I was 17, I was hired as a studio arranger. Then, I was a jazz pianist to make a living from my music. I was spotted by various personalities from the French music industry, and I released an album of songs for EMI, with the London Philharmonic Orchestra. I then produced my musicals for a decade before devoting myself to my more classical works, such as my piano concertos.
Many of your pieces are titled related to nature, including pieces in your two albums, Back Home with the Moon and Air. Does your close connection to nature influence your music?
It’s undeniable. Nature is my total source of inspiration. The simplicity of a morning mist, or the masterful spectacle of the sea or the mountain, invite me to discover an unexpected imagination, and it is in the unexpected that I compose best.
Back Home with the Moon features 17 beautifully composed pieces for solo piano in jazzy, meditative, and romantic styles. What pieces in the album most represent you?
“Back Home with the Moon”
I never tire of the “Valse naïve”, or “Impression de Lièvre”, so many chance encounters at the bend of lost paths, with a leporid surprised to see me…
The album is performed by Swedish pianist Peter Jablonski. Jablonski is famous for supporting contemporary composers and premiering their works. How was your working relationship with pianist Peter Jablonski?
Video of Peter Jablonski performing Berceuse Mauve
I let Peter Jablonski choose from all of my preludes, from the most complex to the most stripped-down, then he preferred my simpler works. He has nothing left to prove in his career as an exceptional virtuoso artist. But let’s make no mistake: playing simple works with his immense talent is an invitation to peace and to surpass himself. I’m always very impressed listening to him.
In the second album, Air, one of the pieces is your fourth piano concerto. What inspired you to write this concerto?
Air is lightness, that of a ballerina, weightless above her life. A foot stretched out as if to go ever further in dedication to her art. She was the one who chose me to accompany her somewhere else.
First movement, Air Concerto for piano and orchestra
In the album, the concerto was played by Ukrainian pianist Svetlana Andreeva. How did you discover Svetlana Andreeva?
Svetlana Andreeva with RSNO © Martin Shields
I discovered her talent in a video posted on the internet recorded during a competition organized by the Royal Scottish National Orchestra, which I had selected for my piano concerto No. 4 Air. A few months later, I met her during the recording of her first album, Synesthesia, with other of my preludes, which she performed in Berlin in April 2022.
“Air” was recorded under the baton of Sergey Neller, a finalist of the Mahler Competition, as well as Svetlana Andreeva’s husband. How was the working relationship with him?
“Air”
Sergey Neller is an immense musician. He was an outstanding pianist, but above all, an exceptional conductor; I was able to watch him conduct the Mariinski, or the excellent Royal Concertgebouw orchestra. He is very secretive and reserved. His proposals for tempo or mixes of music stands are the fruit of perfectly mature reflection. There’s not much to discuss with artists of his level.
Christian Schittenhelm · Dawn (RSNO & Sergey Neller)
The album also includes Dawn. If you need to describe 2-3 areas you want listeners to notice, where and what would they be?
Classical music of the 21st century has gone beyond dogmas and certain intellectual certainties. Freedom today requires a mix of languages. Presenting a melody in an orchestral work has, in recent decades, become almost ridiculous. The only thing I want is to share with the public new emotions and unique journeys, which will put to music the pretty little human stories of tomorrow.
Both albums are released under Sfumato Records and are available on all streaming platforms.
Learn more about Christian Schittenhelm
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