Matthäus Crepaz learned to compose mostly autodidactically, by reading various orchestra scores and reference books, and by experimenting and trying things out. Already at the age of nine, he had started to create his own songs at his sister’s keyboard. In 2006, he wrote his first complete composition “Brass Fanfare”, after having been motivated by a dear friend. This piece was published straight away by Ernst-Mosch-flugelhornist Freek Mestrini. Little by little, Matthäus Crepaz began to arrange and compose, at first mostly for wind ensembles and wind bands/orchestras. It was with the help of the Sonoton Gherdina Orchestra and the Castelrotto Music Band that his works were again and again performed with enthusiasm. In 2017, Matthäus Crepaz produced his fist digital music with virtual instruments. That same year, the legendary Giorgio Moroder gave him the task of arranging two songs for his Live Tour. At the same time, the Kastelruther Spatzen asked Crepaz to arrange a piece with “classical” instruments for a song together with Schlager pianist Richard Clayderman. In 2018, bass trombonist, composer and arranger Ingo Luis (D) took notice of him and asked him to write an arrangement for the WDR Rundfunkorchester Köln (West German Broadcasting orchestra). Ever since, Crepaz has been securing commissions from this renowned orchestra.
Up to the present day, Matthäus Crepaz has written around 50 compositions and at least as many arrangements. He likes to work with different musical styles, such as classical, wind, folk and film music, as well as pop, rock, musicals and very recently also meditation and wellness music. His commissioners come from all branches. Thus, he works for professional as well as amateur orchestras, school orchestras, music bands, ensembles, choirs and bands. He even wrote the lyrics to some of his works for choir and singers. Over the years, Matthäus Crepaz has developed his own style. His works are independent, unconventional and unique. Every work is exceptional and original. The composer explains the character of his pieces by saying the following: “It can happen that, on the same day, I’ll listen to James Last and Gustav Mahler, and without feeling ashamed, I can take both to my heart… although Mahler has a very special place there.”