Piotr Wiese is a Polish-born, Spanish-based composer, pianist, and producer with over 100M streams worldwide. His music has been featured on renowned radio shows, covered by notable modern-classical music magazines. Don't miss our conversation with Piotr Wiese, covering topics such as composition, influences, upcoming projects, and life.
Can you take us back to your childhood and share how your early experiences with the piano shaped your musical journey?
I started my first piano lessons when I was eight years old, which is not that early yet it is early enough to develop a firm understanding of the topology of piano keys and develop a lifelong passion for the majestic instrument. But my musical journey took off in my early teens when I stumbled upon a CD with Chopin’s music. I remember sitting close to my hi-fi for long hours dreaming: how can you even play such things? Moreover, how can you compose it? Then I thought: I want to be able to do such beautiful things. It was my breakthrough as a musician.
Your journey has taken you across different countries. How have cultural differences influenced your artistic expression and creativity?
Of course, constantly being on the move and traveling from Poland through Germany, England, and most recently Spain I was exposed to different vibes in each country, which moved my music creativity in one direction or another. It all happened rather subconsciously. From Poland, I took a solid classical education and training. I also took a love for Chopin and Polish melancholy which has been pronounced best in Chopin's Mazurkas. From there I perhaps took a fondness for 3/4 rhythm which, in turn, led me to compose all the waltzes I wrote. From Germany, I took a love for the modern-classical genre. I used to live in Berlin and I think it might be the beating heart of that genre. Enough to say Nils Frahm is based there. Also, a lot of people from the industry I am working with regularly have their studios there. (Zino Mikorey, Martyn Heyne to name a few). From England, I took further education in composition and sort of 'can do' approach. It was during my studies at the University of Bristol when I first heard Joep Beving's music. Back then I remember thinking to myself, 'If he can make his waltzes to the most popular piano playlist in the world—Spotify's “Peaceful Piano”—so can I.’ Four years later, I landed my first track there. Up till now, four of my tracks have been featured there. I can also tell that a majority of my musical knowledge and experiences are based on English-written books and English-speaking people. For that, my two-year-long stay in England was of immeasurable value. Finally in Spain, I found home. Literally, I bought a house in a tiny village in the heart of Valencia region, where every day I learn the Spanish way of appreciating life and the people around me. Here I put down roots and began a journey inwards.
Are there specific composers or musicians who have had a profound influence on your work? If so, who are they and how have they inspired you?
Chopin made me think that the piano is enough. Debussy convinced me to use the pentatonic scale. Beethoven gave me a broad palette of colors and dynamics from 'ppp' to 'fff'. Bach gave strength to my fingers. Phillip Glass and Henryk Mikołaj Górecki made me think that sometimes less is more. Nils Frahm put a felt on my piano. Joep Beving made me believe that composing waltzes in the 21st century is completely normal. Finally, Jacob Collier did not influence my work. Yet It is good to know that 'Mozart' type of geniuses are living among us. And they can even win multiple Grammys and then use the trophies as percussive instruments.
How do you approach the conceptualization and creation of a new piece of music? Do you start with a specific theme, emotion, or melody? As a pianist, how does your performance style on the piano influence your compositions?
When it comes to creation, it is often that music approaches me and not the other way around. First, it always has to be a self-conceived idea, a theme, a melody, and sometimes (and these are the best) the entire piano piece that comes instantly. Completely out of control and without planning. It is good to have your piano close at that time. I am happy enough to have one in my vicinity most of the time. Often the idea comes half-baked and is far from being perfect. I rarely start working at once. I often record such ideas and leave them for a few months, sometimes years. When I get back to it after a time and feel it is still good, it holds well, only then do I start working, shaping, changing or adding harmony, working on structure, choosing the form, etc.
''I Will Keep Sailing'' suggests a journey or progression. Can you elaborate on the thematic elements or inspirations behind this album? Can you share any specific challenges you faced during the production of ''I Will Keep Sailing'' and how you overcame them?
''I Will Keep Sailing'' suggests a journey or progression. Can you elaborate on the thematic elements or inspirations behind this album? Can you share any specific challenges you faced during the production of ''I Will Keep Sailing'' and how you overcame them?
'I Will Keep Sailing' is both a progression and a journey. The pieces are a collection of ideas spanning over the last five years. During that time, I met the love of my life, I started releasing piano music, and I got discovered; all of that while constantly moving places and studios, with the latest big move being from Poland to Spain. Namely, a lot of time, experiences, and places are enclosed in the album and all the tracks yet they fit together as if they were composed during one week. A wonderful paradox of bending space-time so inherent to music. The title 'I Will Keep Sailing' is 'an answer' to the lyrics of a song composed by my wife during a tough period:
'My sweet sweet sailor
I am behind your back
And you keep keep sailing
No matter what’s in your mind
The fear has big eyes
Feeds on the stars
My sweet, sweet sailor
I am behind your back'
The main challenge during the production of the album (and this will be fun) was the temperature. I was recording and mixing the tracks in my studio in Spain and most of that was during a rather warm period of May/June/July. The thing is that when you record quiet felt piano music you cannot really use any air conditioning due to noise issues. I had to record barely clothed and during the late night hours but still, I would have to close the windows (who knows how loud Spanish crickets can be knows the deal). You can only imagine recording in a completely closed room without AC when it is 28C degrees outside (at midnight!!!).
Can you discuss the significance of the titles you choose for your albums and tracks? How do they relate to the music itself?
To be honest, if I could (it would be impractical though) I would not give titles at all. Music surpasses the language in the level of abstraction and when something, whatever it is, is named it is not as free as only the unnamed melody can be. Having that in mind it is difficult for me to name my music. Yet, when I do that there is absolutely no rule here. The title can be a name of a person like 'Agnieszka' from my newest album 'I Will Keep Sailing,' which in turn (the title) is an answer to my wife's poem. It can be a feeling that accompanies the creation, a specific time in life, sometimes it is a wordplay like 'Solituned'. At times it is just an inside joke that only I can understand.
Your career has seen success in various projects. Is there a specific project or piece that holds a special place in your heart, and if so, why?
I rarely look back, as I am often unhappy with the music I wrote in the past. I mean, I know it is good but since I constantly grow I also know it could have been done better. Therefore all my heart is in the current project I am working on now. I am super excited as it will be something new to me, yet something I feel particularly good about. An album of piano layers with electronics.
Looking ahead, what are your musical aspirations and goals for the future?
I have a few rather large goals for this year, which will influence my musical future. Earlier this year I bought a house in a village near Valencia, Spain, and my dream is to convert half of it into the best modern-classical music studio in the region. I am also very close to acquiring a 130-year-old C. Bechstein grand piano in mint condition which will soon (hopefully this summer) become the heart of my studio. Most importantly, this year, I would love to compose and produce an album with piano layers and electronics.
Finally, from your perspective, what is the meaning of life?
To create.