"Mozart talks to me all the time"

Martin, you've been playing the clarinet since you were eight years old. Could you ever imagine life without music?
No, and I find that a terrifying prospect. Unfortunately, I have Menière's disease. This means I suffer from severe dizzy spells and hearing problems at times. Sometimes it forces me to cancel concerts and I'm really afraid of losing my hearing. But each time I survive an episode, I feel all the more grateful that I can continue playing.

You've virtually reinvented the way classical music is played. Do you enjoy breaking new ground?
The only thing I've reinvented at most is how the clarinet is played. I simply love approaching works of music in a different way.

But you take things a step further by incorporating special lighting effects and dance elements into your performances.
Yes, that's true. I've been trying to inject a breath of fresh air into the world of classical music for 30 years – and I think I'm actually doing quite well. I don't believe traditional concerts will ever die out, but I do see room for other formats.

Do you ever worry that you may lose the traditional classical music audience with your productions?
Most people really enjoy being surprised. At the end of our performances, people don't know what touched them most – the cello solo, the dance or the poetry recital. All elements are harmoniously combined. But I don't break with traditional convention just for the sake of it. There's a story behind every one of my projects - and I tell it on stage.

Could you give us an example?
A good one would be the Dance Now Always (DNA) project, inspired by Beethoven's Seventh Symphony. The first part of this project introduces the composers who influenced Beethoven. The music features passages by Handel, Mozart and Bach. But we also show how Beethoven's distinctive rhythms have shaped the history of music and created structures that are used today by artists such as Kraftwerk or Daft Punk. All of this can be heard in the composition 'Mirrors', which we'll be performing at the Migros Culture Percentage Classics concerts at the end of November at four venues.

Imagine if Mozart and Beethoven were still alive and listening to these performances. What do you think they would say?
I think Beethoven would listen with great interest. Mozart would probably be quite taken aback – he'd probably like the part dedicated to him, but not so much the rest. It's funny, I feel like I know Mozart so well that he speaks to me all the time. When I play his concerto, I actually imagine him saying: "Yes, that's how to play it."

You aren't just a soloist, but a conductor and composer too. What do you enjoy doing most?
I'd have to say playing. Because that's how I create music and convey my messages. To continue playing at my level means practising every day - that's why I can't neglect the clarinet. So I only conduct on the odd occasion.

On your tour you'll also be performing the piece "Nomadic Dances", which you composed with your brother Göran, who is a violist. How does it work when you compose together?
I usually suggest ideas which my brother then develops and produces. He's a much better composer than I am.

Staying on the topic of family, you perform all over the world, but your wife and two children live in Stockholm. Doesn't that put a strain on family life?
There have been difficult times for everyone, that's certainly true. Fortunately, my family were able to come on tour with me around the USA, Australia and Europe. My children were actually often backstage with me. When I'm at the festival in Verbier, we all go hiking together. Spending time with my family means everything to me - and I no longer hurtle from one concert to the next as I used to.