Remember Tomorrow Clemens Christian Poetzsch

• Clemens Christian Poetzsch (b. 1985):
• 1 Spheres 03:17
• 2 Tokio Nights 04:33
• 3 Rufe 02:05
• 4 Ascending 03:50
• 5 11 Step 04:41
• 6 Echos 06:43
• 7 Neon Leipzig 02:37
• 8 Reflexion 02:06
• 9 Zur Nacht 05:29
• 10 Pyrus 04:00
• 11 Schimmer 01:39
• 12 Zwei Stimmen 03:14
• 13 Lento 02:05
• Total Runtime 46:19

Info for Remember Tomorrow

Pianist and composer Clemens Christian Poetzsch describes his album "Remember Tomorrow" as "a house with thirteen rooms - every composition is like a small room". A comprehensive collection of thirteen songs, each standing like its own self-contained world. On his Neue Meister debut Poetzsch deals with musical flashbacks and déjà vu experiences with familiar people and places. His goal was to deconstruct "these short moments in certain situations where you suddenly feel reminded of something". These moments "everyone knows, they accompany you through life and therefore have a certain influence on your future, on your behaviour, on how you talk to people or how you see things".

Poetzsch himself explains that "when he enters a room or talks to someone, he suddenly thinks, 'Oh, that seems familiar to me.'" Music can also awaken memories or recall fragments of experiences. So "Remember Tomorrow" is his approach to find a meaning in all this and to bridge the gap between yesterday and tomorrow. To achieve this, Poetzsch ventured into new territory, incorporating new elements and instruments into his compositions and giving free rein to his ideas.

"Some things were written out of improvisation, others not - there was no real plan," explains Poetzsch. Double bass, piano, jazz, classical and electronic influences have all contributed to "Remember Tomorrow".

Clemens Christian Poetzsch's approach, both in experimenting and collaborating with colleagues, is to simply dive in and try out, discovering new things and seeing what works and what doesn't. He does the same with electronic sounds and samples. The freedom to set no limits to one's own creativity and to consciously break with preconceived opinions and prejudices regarding genres or instruments is at the centre of creative work here.

Poetzsch has combined everything he know - from Sinatra songs to Bach and more contemporary influences such as Ryuichi Sakamoto, Aphex Twin and Winged Victory For The Sullen - and merged them into the very album with which he celebrates his label debut with Neue Meister. "Remember Tomorrow" is proof of how it can sound when you avoid conventions and let your intuition guide you in your search for your own path.

Clemens Christian Poetzsch, piano

Clemens Christian Poetzsch
Deep inside, pianist Clemens Christian Poetzsch always knew what music meant to him: freedom. Freedom to improvise; freedom to create new worlds of sound; freedom to follow his instinct wherever it may lead him. His publications in collaboration with various musicians and his solo debut album (People & Places, 2016) already distinguished him as a special talent. On his new master debut, "Remember Tomorrow", he finally does justice to the role of the modern composer and gives free rein to the entire spectrum of his musical abilities - and with astonishing results.

During his childhood in Dresden, Poetzsch received his first piano lessons from his grandfather, an opera singer, and immediately immersed himself in the worlds of Bach, Schubert and Clementis. Then, at the age of ten, a birthday present from his brother: a music book with Frank Sinatra standards that opened his ears to more extensive musical possibilities. Poetzsch soon played in the bar of the neighbouring house, improvising and throwing song structures over and over again.

These were formative experiences that accompanied Poetzsch throughout his classical music education at the Hochschule für Musik in Dresden. During his piano and composition studies he spent his free time playing in jazz and free improvisation bands with friends and colleagues. He gave concerts, went on tour, discovered electronic music and absorbed all knowledge like a sponge. "I really like playing Bach and all the big ones," he says, "but from the beginning I just liked writing music myself and making my own songs. Playing in the orchestra or in big bands never really interested me".

And so what started as pure pleasure and the need to "find environments where I can surprise myself" became an ever-increasing influence on his music. "There never was a real plan," Poetzsch explains, "but I found that when I stepped away from all the sheet music and tried to find something for myself, it became my little language, and my voice and composition style really developed out of all of that."

This album contains no booklet.