Deep down, pianist Clemens Christian Poetzsch (1985) has always known what music means to him: freedom. Freedom to improvise; freedom to create new worlds of sound; freedom to follow his instincts wherever they may lead him.

The multiple award-winner released his solo piano album ‘People and Places’ in 2016, followed by sold-out concerts in Japan and the UK.

Since 2019, he has been releasing his compositions under the label "Neue Meister/Edel", uniquely blending modern classical, jazz, and electronic music.

His solo albums ‘Remember Tomorrow’, ‘The Soul of Things’ and ‘Chasing Heisenberg’ were subsequently nominated several times for the Music Prize ‘Opus Klassik’ and streamed over 25 million times.

He has also performed as a soloist at numerous festivals worldwide and at the Elbphilharmonie Hamburg.

In addition to his solo work, he is involved in numerous productions as a composer, arranger, pianist and producer, some of which have made it into the US Billboard classical charts and received platinum awards.

He also performs as an interpreter of contemporary piano music, such as on the album ‘Clemens Christian Poetzsch plays Sven Helbig’ (2020).

As a member of the band Masaa from 2011 to 2019, he toured Africa, Jordan, Lebanon, and Turkey on behalf of the Goethe-Institut.

In collaboration with Reentko Dirks, he created the soundtrack for the film ‘National Street’ (based on the bestseller by Jaroslav Rudis), which made it to Number 1 in Czech Cinema Charts.

Clemens Christian Poetzsch has played and shared the stage with artists such as the dogma.chamber.orchestra, Robot Koch, Daniel Hope and the Kammerorchester Berlin and regularly writes music for theatre, ballet and film.

For the Sorbian National Ballet, he composed the full-length ballet score ‘Abschied’ for piano, string quartet, electronics and choir.

“Subtle and refined, it’s one degree of separation from Max Richter, two from Philip Glass, three from Erik Satie; beautiful music, beautifully played.”

(DROWNED IN SOUND)

"He has stated that he wanted to explore the junction where improvisation and composition meet on ‘Chasing Heisenberg’, and while only he can know, the impression is that he has tapped into a liquid relationship with his instrument, a mastery that allows him to deviate and divert at any time, secured by the knowledge that he will always be able to feel his way back home."

(LOUD & QUIET)