CJ Schultz is a composer and producer whose work masterfully blends piano and strings, influenced by Chopin and contemporary Japanese composers.
For CJ Schultz, music has always been something to return to. From playing in his middle school band in Hong Kong during the 1990s to piano lessons in the 2000s, his path has been less about formal training and more about curiosity and persistence. Teaching himself through scores and experimentation, he’s built a practice rooted in both technicality and emotion. That approach shaped his debut Bright Colours and its reworked follow-up Bright Colours Redux which deliver an emotive fusion of piano and strings. Inspired by Chopin’s preludes and the harmonic language of contemporary Japanese composers, Schultz continues to explore music as an evolving conversation between tradition and his own modern perspective. We caught up with Schultz to find out more about his journey so far.
How did you get into music? What is your musical background?
In a sense, I’ve always had an intermittent sort of attachment to making music, but in a way where it’s really something that I’ve always returned to. Actually, I was in my middle school band when I attended Hong Kong International School during the 1990s, and I took some piano lessons during the early to mid 2000s; otherwise my musical journey has been mostly autodidactic research and practice — looking at scores of music by a range of composers to try and figure out the connection between the notes on the page and an authentic emotional content.
Tell us about your first release – what was special about that one?
I released Bright Colours on Apple Music and iTunes, first during 2022, then again as a redux version with updated SoundFonts more recently — just last year. Again, I wanted to get at the emotional content of the music, so I really tried things out in my digital audio workstation, with the piano and strings, that would bring out a concise exploration of themes from that perspective. Maybe the chords don’t land with the same gravity as a full orchestral statement, but I think the interplay between the melodies and pianos with supporting chords and grounds in the violins, violas, and cellos, brings out a sense of balance.
Check out CJ Schultz on Apple Music.
Tell us about the latest project you worked on?
Bright Colours Redux was my most recent release. Otherwise I’ve been trying out some ideas here and there, and going through some music of various composers to get ideas for my next release, playing what I can on the piano before inputting the notes into my digital audio workstation.
Could you describe your musical style and creative vision?
Although I can’t play them all that well, I’ve had a book of Chopin’s preludes since around 2004. His work is a real journey, going through states of mind with varying degrees of melancholy and exuberance. I don’t want to just copy Chopin, but rather, I would like to find a way to balance out an interpretation of his work with contemporary Japanese artists — I think they have an interesting use of complex and modern harmonies that create really interesting textures.
What advice would you give to anyone thinking of entering the music industry?
Actually, it took me a while before I got my music out there, so the main thing I think is to really balance emotional inspiration with technical understanding. That way you can really hone what you are doing in music, so that when people do notice the effort, you’ll leave a solid impression.
What are your plans for the rest of the year and beyond?
Well, there isn’t much time left in the year, but I am definitely going to try and release something — no pun intended, given the Chopin references, but a polished collection of music that I hope people will enjoy. I am also working on a Master of Science in Cyber Security at the moment, so I hope to be able to really continue with my studies while also delving into the world of music creation.
What have you enjoyed about working with MN2S Label Services?
I do honestly think it’s like that Japanese question, “if a tree falls in the woods and nobody hears it, did it make a sound?” That said, what I enjoy about MN2S is the chance to reach a larger audience — because if nobody is going on that journey and really connecting with the music at an aesthetic and emotional level, then I don’t understand what the point is. The greater opportunity is to really connect with people at a level that’s more than just ephemeral ideas.