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

The multi-award-winning artist 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, where he uniquely blends modern classical, jazz, and electronic music.

His solo albums Remember Tomorrow, The Soul of Things, and Chasing Heisenberg have been nominated multiple times for the prestigious Opus Klassik award and have collectively surpassed 25 million streams. He has performed as a soloist at renowned festivals around the world and at prestigious venues such as the Elbphilharmonie Hamburg.

As a pianist, composer, and arranger, he has collaborated on numerous albums and productions with genre-crossing artists and ensembles. Many of these works have earned critical acclaim and achieved international chart success, including a platinum-selling milestone.

In addition to his solo work, Poetzsch is an interpreter of contemporary piano music, as demonstrated on the 2020 album Clemens Christian Poetzsch plays Sven Helbig. From 2011 to 2019, he was a member of the band Masaa, touring extensively through Africa, Jordan, Lebanon, and Turkey on behalf of the Goethe-Institut.

In collaboration with Reentko Dirks, Poetzsch composed the soundtrack for the film National Street (based on the bestseller by Jaroslav Rudis), which reached Number 1 in the Czech cinema charts.

He has performed with and shared the stage alongside artists such as the dogma.chamber.orchestra, Robot Koch, Daniel Hope, and the Kammerorchester Berlin. Poetzsch also frequently composes for theatre, ballet, and film.

Notably, he wrote the full-length ballet score Abschied for the Sorbian National Ballet, featuring 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)