When you think about classical music, the name Claude Debussy drifts into your mind like a soft breeze, doesn’t it? His compositions have that timeless, almost otherworldly beauty that just sticks with you. But here’s a question: What happens when someone takes one of these classic pieces and stretches it beyond what we’re used to? That’s exactly what Morten Vamplew—better known as Mortenissimo in the music world—has set out to do with his bold new album, Debussy [extended]. He’s reshaping these pieces, taking what we think we know and pushing it into completely new territory. His first single, Clair de Lune [extended], is an experience. Imagine walking through a familiar garden but suddenly discovering hidden corners you never knew existed. That’s the kind of journey Mortenissimo has crafted here. It’s something you recognize, yet it surprises you at every turn, layering in new compositions that draw you in and keep you hooked. What drives a modern composer to revisit these classics, and how does he find that sweet spot between paying tribute and breaking new ground? Keep reading for our exclusive interview with the man behind the music.

photo by @mortenissimo

Morten, I’m curious about the whole concept behind your “Debussy [Extended]” album. What inspired you to go for an ‘extended’ version of these classics?

9 years ago, I heard ‘Clair de Lune’ for the first time, and learnt the piece specifically for a wedding ceremony. This was the key moment where I started to love Debussy’s music, and learn more of his pieces from the same era. These days, my appreciation for the French composer’s style has grown, thanks to a further analytical understanding of his harmonies, melodies and techniques. I regularly improvise in the dreamlike and impressionist style that Debussy’s music is known for.

The idea for Debussy [Extended] came about when I was in New York last year. I was in the Steinway piano shop, where I sat down and played Prelude from Debussy’s Suite Bergamasque, with an extended and improvised intro, which was spontaneous. The ideas just continued from there. I went on to look at more of my favourite solo piano pieces by the French composer, with the intention of extending them via new sections. The extensions I’ve composed so far were all inspired by specific sections of Debussy’s original works. During the composition process, I found myself extending a section of music that I felt was too short in duration, and had potential to be repeated or even developed melodically or harmonically.

You’ve really transformed “Clair de Lune” into a whole new experience with your 10-minute extended version. I’ve got to admit, I’m a bit puzzled by the whole idea of extending a piece like “Clair de Lune.” I’m really interested in how you blend your own ideas with Debussy’s original to create something new. What’s your process like?

For my Debussy [Extended] pieces, the first step is getting hold of the sheet music, deciding how many extensions there will be during the piece, and marking these locations on the score. Once again, the location of an extension could easily depend on what section of the piece I feel could be explored further. Once these steps are complete, I get onto the recording stage, which can vary depending on how many ideas I have in mind before opening Logic Pro. At times, I can start recording on my MIDI keyboard straight away, coming up with ideas as I go and letting the parts fall into place spontaneously. On other pieces, I have to do more pre-planning on the music passages themselves before I’m ready to record anything.

Apart from Debussy, which composers or specific works have shaped your musical perspective?

Over the years, I have been musically influenced by artist and songwriter Adam Young, who has numerous musical projects, some of which are heavy on the ethereal and dreamlike qualities that I love so much. I’m inspired by Adam’s melodies and chords, and the unique ways these elements communicate. Franz Liszt is my second favourite classical composer. I really enjoy Liszt’s intriguing use of harmonies, dissonances and structures. Sometimes, when I’m composing a piece, I like to take the music in a slightly different direction, to add more variety to the listening experience. Liszt’s music has helped shape this approach of mine.

Were there moments where you felt particularly challenged by the legacy of Debussy’s compositions?

The main challenge for me was to ensure that I remained respectful to Debussy’s original pieces and vision. I wanted to make my own interpretation and adaptation of the pieces without straying too far from what made these works special in the first place. The pieces in Debussy [Extended] are ones that I’ve known for a long time, but there were moments during the recording process where it took me longer to complete a melody suitable for a musical passage. During the process of writing the extensions, there were a few sections that I needed to re-record several times, making changes to the music each time, until I reached a result I was happy with. I have also experienced challenges with the more technical side of the process. I have used Logic Pro for all of my composing and mixing thus far, and over the years, I have stumbled upon numerous challenges at various points of the music making process. These include technical absurdities with the sound during the mixing process and attempting to achieve the right level of loudness for streaming purposes. With time, I have adapted to deal with these hurdles better, via continuous experience of working with Logic Pro, and further exploration of the compositional workflow and timeline that works best for me.

I’m really excited about your new album, “Debussy [Extended].” Can you tell us more about what to expect from this album?

The album will feature six Debussy pieces, five of which have been extended. These include “Arabesque I,” “Clair de Lune,” “Ballade,” “Mazurka,” and “Prelude” from Suite Bergamasque. For these pieces, I’ve added new sections that expand on Debussy’s original motifs, creating a new listening experience while staying true to the French composer’s style. The remaining piece is “Reverie,” which has undergone more of a reimagining rather than a simple extension. I selected my favourite sections and motifs from “Reverie” and composed new material to complement them, offering a different take on the original. Additionally, in some pieces throughout the album, I’ve incorporated brief sections inspired by motifs from different Debussy works, adding some fun crossover elements for listeners to discover.

photo by @mortenissimo

Music has this incredible ability to mirror our own stories and feelings back to us. With these extended versions of classic Debussy pieces, how do you think your audience will react?

I enjoy composing music that deeply resonates with both myself and my listeners. As a spiritual person, I love music that can transport me to a dreamlike realm, where I can create my own imagery surrounding the music, and reflect on how it impacts my inner thoughts and emotions. My hope is that the pieces on Debussy [Extended] will have the same impact on listeners. I would love it if my music is able to captivate their ears, and touch their hearts and minds.

There’s often a tension between innovation and tradition within the classical music community. How do you respond to purists who might be skeptical of altering classical masterpieces?

I understand the concerns of purists who may be skeptical of the idea of altering pieces of classical music. During the compositional process, I wanted to be respectful to Debussy’s original compositions and style. My intention was never to improve the pieces, as I feel that they are already perfect in their own right. Instead, my goal was to extend and further explore the elements and ideas that I personally love about his music, composing new sections in a style that I believe Debussy himself may have embraced. I would also like to mention that classical music has always allowed for a range of interpretations. Each performer brings their own nuance to a piece, and no two performances are exactly the same. By this logic, exploring new interpretations or extensions of a piece is another form of artistic expression. I feel that as long as the original spirit of the composition is honoured, there is value in exploring how the music can evolve and continue to resonate with modern audiences.

What would you say is the role of innovation in classical music today?

I believe that, in the modern world, it is important to respect the style and characteristics of classical music pieces and their composers. A combination of this aspect and musical innovation is a great way to keep classical music alive and relevant. By exploring new interpretations or even reimagining existing works, musicians can introduce classical music to a wider audience and help to ensure its continued growth. Innovation is great for building on the tradition of the music and finding new ways to connect with listeners.

Of all the tracks on “Debussy [Extended],” which one are you most proud of?

I am definitely most proud of Clair de Lune [Extended]. This was one of the last pieces I worked on for the album. I wasn’t sure how the composition was going to turn out, but I really wanted this one, in particular, to be a success, taking the original piece’s huge popularity into consideration. Clair de Lune [Extended] is available to listen to on streaming platforms, including Apple Music and Spotify, and a video edit is available on YouTube.

Do you have any upcoming concerts where listeners can experience your new album live?

The premiere of my complete Debussy [Extended] programme will take place at Wesley’s Chapel in Old Street, on Tuesday 8th October 2024 at 1:05pm, as part of the venue’s lunchtime recital series. I will also be performing at St Barnabas, Pimlico, on Friday 24th January 2025 at 3pm. Information on further performances is on its way. All news can be found on my website.

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*This interview was made possible by Quite Great PR