We recently connected with Michael Frankenberger and have shared our conversation below.

Alright, Michael thanks for taking the time to share your stories and insights with us today. Learning the craft is often a unique journey from every creative – we’d love to hear about your journey and if knowing what you know now, you would have done anything differently to speed up the learning process.

When it comes to learning music, my journey began quite early, as is often the case here in Austria, I started with the recorder at the age of five, but it wasn’t long before I developed a fascination with the classical accordion. To this day, I’m not entirely sure what drew me to that particular instrument, but it became my passion. I dedicated myself to getting as good as possible on the instrument, performing in concerts and competitions, which gave me my first taste of the joy that music could offer.

Between the ages of 10 and 18, I attended music school, where I immersed myself in the fundamentals of music theory and participated in choir singing. These formative years broadened my understanding of music across genres and nurtured my creativity. It was during this time that I began to compose—initially for accordion and, by the time I was 17, for an orchestra. Hearing my first orchestral composition performed live was an unforgettable milestone that affirmed my aspirations to pursue a career in music.

After graduating, I faced a pivotal decision: whether to dive directly into film scoring or to first build a deeper foundation in the fundamentals of music theory, harmony, orchestration, and practical skills like sight-reading and figured bass. I chose the latter, pursuing bachelor’s degrees in Composition and Music Theory at the Mozarteum University in Salzburg. This classical education was invaluable, equipping me with a comprehensive understanding of musical structure and tradition. Alongside my studies, I actively sought out opportunities to apply what I was learning, working on short films and a micro-budget feature film the summer before I began university.

A defining moment in my career came at 19 when I was accepted as an intern at Hans Zimmer’s Remote Control Productions in Santa Monica. The opportunity to observe world-class composers at work and to engage in conversations with them about their craft and the industry was transformative. This experience illuminated the path ahead and underscored the importance of versatility, resilience, and collaboration in this field.

Since then, much of my growth has come from hands-on experience with diverse projects. I’ve had the privilege of working on film and television scores, including Kennedy (History Channel), Stable (BBC, with the main theme by Lorne Balfe), and Bang on Time (Red Bull). In parallel, I’ve explored my artistic voice through solo albums such as Love Letters, Healing, and Revelation. However, one of the most impactful chapters of my journey was my time as an additional composer and arranger at 14th Street Music, founded by Lorne Balfe, Hans Zimmer, and Steven Kofsky. Over two years, I worked for Grammy-winning composer Lorne Balfe on over a dozen high-profile projects, including Gran Turismo, His Dark Materials (HBO/BBC), and Life on Our Planet (Netflix). Working closely with someone like Lorne was life-changing. It provided deep insights into composing for picture, handling creative relationships with directors and producers, and managing the immense creative and technical demands of major productions.

As a composer, particularly in film and television, the learning curve is steep and multifaceted. Beyond composition and theory, one must also work on the technical aspects—programming music, producing, and mixing it to sound polished and realistic for initial presentations to directors and producers. Looking back, if I could offer advice to my younger self, I would emphasize diving into the technical side of the craft sooner. Establishing a streamlined workflow early on would have saved time and allowed me to focus more on the creative process.

One of the most significant challenges in this field is that there’s no single “right” way to compose or produce music. Each composer has a unique approach, using different software, templates, and methodologies. This lack of a universal blueprint often means learning through trial and error, which can be time-consuming but also rewarding. Overcoming these obstacles has been an integral part of my growth, shaping my ability to adapt, innovate, and continually refine my craft.

As always, we appreciate you sharing your insights and we’ve got a few more questions for you, but before we get to all of that can you take a minute to introduce yourself and give our readers some of your back background and context?

I’m Michael Frankenberger, film composer and classical artist originally from Salzburg, Austria. My work spans across projects like Kennedy (History Channel), Stable (BBC, with the main theme by Lorne Balfe), Salzburg. Eine Kunstgeschichte, and We Shall Not Die Now (featuring the main theme by Benjamin Wallfisch). I’ve also composed for Bang on Time (Red Bull) and released solo albums, including Love Letters, Healing, and In Silentio. Over the years, my music has garnered over 35 million streams on Spotify, which I’m incredibly grateful for. In 2020, I was honored to be included in the Forbes 30 Under 30 list by Forbes DACH, which was a major milestone in my career.

During my time as a composer, I’ve had the privilege of working with Grammy-winner Lorne Balfe as an additional composer and arranger on more than a dozen projects. These include Gran Turismo, Steven Spielberg’s Primetime Emmy-nominated Life on Our Planet (Netflix), His Dark Materials (HBO/BBC), and Man vs. Bee (Netflix). I spent almost two years collaborating with 14th Street Music, a company founded by Lorne Balfe and Oscar-winner Hans Zimmer. That experience allowed me to work on a wide range of projects—films, TV series, and over 60 episodes of television—early in my career.

In addition, I’ve contributed additional music to projects like Ping-Pong: The Triumph and Yesteryear by Andrew Kawczynski, Alexander: The Making of a God (Netflix) by Taran Mitchell, and A Town Called Malice (Sky) by Alfie Godfrey. I’ve also had the opportunity to work as a freelance composer for companies like Hans Zimmer’s Extreme Music/Bleeding Fingers Custom Music Shop, Gothic Storm Music, and Atom Music Audio. One of my earlier highlights was completing an internship at Hans Zimmer’s Remote Control Productions in Los Angeles during the summer of 2018.

My music has been licensed and screened by major TV stations like Netflix, HBO, BBC, NBC, Fox Network, 3Sat, ORF, and many others. Over the years, I’ve been fortunate to win several awards for Best Music at film festivals around the globe. In 2022, I also had the honor of being a speaker at TEDx Salzburg, where I shared insights into my work, creativity, and more.

Before I transitioned fully into composing, I performed extensively as an accordionist, participating in dozens of concerts and winning several international competitions. I then studied Composition and Music Theory at the Mozarteum University in Salzburg, which laid the foundation for my career.

Beyond my work in feature films, TV series, and concert music, I’ve collaborated with Dominic Muhrer from The Makemakes to write and produce songs for films like Salzburg. Eine Kunstgeschichte. I’ve also composed for commercials, corporate videos, and sound branding for clients like Porsche Holding, Voestalpine, MAN, Verbund, and S-Link. A particularly exciting project was creating the music for Arnold Schwarzenegger’s Austrian World Summit in 2021, where my piece was recorded at Synchron Stage Vienna. More recently, I composed Voce Salis for Salzwelten Altaussee, which is performed at their underground lake and has been recognized with the Caesar Award and Austricaus Prize.

For you, what’s the most rewarding aspect of being a creative?

While there are many moments that bring me joy—releasing music, performing live, or hearing my work on television or streaming platforms—the greatest reward for me is something much simpler. It’s the privilege of being able to wake up every day and do what I love for a living. This has always been my dream, and the fact that I can focus on creating music as my career is something I’m deeply grateful for. I try to approach each day as a small victory, and I hope I can continue this journey for as long as possible.

We’d love to hear a story of resilience from your journey.

In my experience, playing the accordion and aspiring to pursue film scoring and composition, I often received advice—sometimes from well-meaning teachers—to follow a “safe path.” Many suggested I complete a qualification that would allow me to teach at music schools, as it’s seen as a more secure career option. While I have a lot of respect for teaching and would love the opportunity to share my knowledge at a university or similar setting someday, I knew that diving straight into teaching in my 20s, without first gaining experience in the industry, wasn’t the right path for me.

For me, the decision to take the risk and focus entirely on composing was a pivotal one. It allowed me to immerse myself fully in the craft and pursue the career I had dreamed of. Looking back, I’m grateful I trusted my instincts, as it’s given me the chance to learn, grow, and build a foundation in the field I’m passionate about.

Contact Info:

• Website: https://michaelfrankenberger.com/
• Instagram: https://www.instagram.com/michael_frankenberger/
• Linkedin: https://www.linkedin.com/in/michael-frankenberger-8775ab165/
• Youtube: https://www.youtube.com/@michaelfrankenberger9690
• Other: https://open.spotify.com/intl-de/artist/4LKXdZFgLqP1Yozo8I28jJ?si=5dRHZN4XTRiFv_go7Ug9Dw

Image Credits

Alice Silvera
Christoph Handl