You studied musicology, music education, and computer science at LMU – this is quite an unusual combination.

David Reichelt: For me, this was actually the perfect fit. When I was at school, my advanced courses were music and mathematics. Musicology gave me the foundation – I wanted to learn everything about music and its history. I chose music education because it also involves a lot of theory. And I needed computer science because I do my work on a computer. I work in a digital audio workstation and produce my music there so, alongside the composing, there’s also a strong technical element involved. This really benefits me today because I can program my own tools to help me with my workflow.

You studied at both LMU and the University of Music and Theater Munich. What do you remember most about this time?

Reichelt: I absolutely loved my years as a student. Even when I was at school, I spent every free minute I had making music. My studies gave me the opportunity to spend all my time immersed in music. I was a little over-eager – I’d already completed all the credits I needed for the basic degree program in my very first semester.

You’ve been interested in music since childhood and started composing at a very young age. What fascinated you so much about music back then?

Reichelt: I’m the only musician in my family, but my parents were always very interested in culture. From an early age, they took me to concerts and the opera, and they signed me up for early music education classes. I started playing the saxophone when I was six years old. I used the piano that belonged to my grandparents to write my first melodies. I simply had an urge inside me to express myself through music.

Even while you were still in school, you were writing music for theater productions and scoring scenes. When did you realize you were moving toward film music?

Reichelt: One of my teachers heard my theater music and told me about composition competitions that were organized by the Ministry of Education and Culture. I submitted my pieces and kept winning. That really encouraged me to keep going and, by the time I reached seventh grade, I started looking into where I could study composition.

You decided early on not to pursue a “Plan B” but to focus entirely on film music. Today, many young people are more hesitant – where did your confidence come from?

Reichelt: It’s the thing I found fulfilling. I never wanted to do anything else. Of course there were difficult phases, but I never seriously questioned my dream. When I applied to music conservatories, I received 18 rejections. My 19th application was then successful. Some of the rejection letters contained some quite harsh criticism – for example, they stated that I lacked artistic talent. But honestly, that motivated me more than it discouraged me.

What does your typical day’s work look like?

Reichelt: I’m always working against the clock because post-production schedules are extremely tight. Most of the time, I’m working on several projects simultaneously and I try to work through them in blocks, otherwise you have to keep immersing yourself in a new world of sound. First, I read the script and develop the themes on the piano. Once the first footage from the shoot arrives, I move into the studio, score the scenes, and produce the music. My workspace looks a bit like a control center, with multiple monitors, controllers, and synthesizers. I do a lot of recording with studio musicians and will soon be working with an orchestra again. Directors also often visit the studio, and we go through the film together: Which perspective are we telling the story from? Where should we place emphasis? I generally work seven days a week, averaging around 12 to 15 hours a day.

I’m always working against the clock because post-production schedules are extremely tight. Most of the time, I’m working on several projects simultaneously and I try to work through them in blocks, otherwise you have to keep immersing yourself in a new world of sound. 

How do you get your commissions?

Reichelt: While I was still studying for my degree, I started networking with students from the film school. This led to my first few projects, and many of those contacts are now established in the industry themselves. These days, productions often contact me directly, usually because they’ve heard my music in other projects and they like the way I approach the music.

As a film composer, you work closely with directors and producers. How much creative freedom do you still have?

Reichelt: It’s always a collaborative process. As a film composer, my job is to realize the director’s vision. To do that, I need to understand what the vision is and know how to turn it into music. Within that process, I actually have a great deal of freedom and the opportunity to experiment with new sound palettes. It’s always personally important to me to make each project unique and give it its own signature sound.