both translate to lighthouse in English.
Collaboration between Andreas and international renowned Greek composer and multi-instrumentalist Michaelis Cholevas (of Lingua Franca
) with Julie Rokseth, utilising predominantly, the tarhu, harps, and bandoneon, potentially fulfilling 2 full length albums.
This is a very unique opportunity and a very challenging task.
This project represents a great chance to pursue and progress Andreas’ research topics and these functional professional processes for creativity and fusion. The project will also produce another more ambitious and concrete result of his findings.
The challenge is to write with these three vastly different instruments in a meaningful and artistically satisfying way in order to produce recordings that can be combined and performed to enhance the awareness of the importance of lighthouses in Norway and Greece (and around the world) as well as link the two nations via their musical and maritime identities. To concentrate on and express musically the correlations of a shared maritime cultural identity, with shared/analogous nautical stories, life of and from the sea, historical ocean myths, and safety of lives at sea through lighthouses. With this music they wish to create a musical intercultural dialogue between Norway and Greece with a special focus on the coastal culture which they both share, which here will be represented by the two islands Samos (Greece) and Sula (Norway).
The pieces will be art music in the chamber musical landscape inspired from styles of the Silk Road, Turkish Makam, Greek, Scandinavian folk music, Celtic, Classical, Argentinian tango, with specific parts of melodic improvisation. Andreas feels that it is important that the music reflects the Greek/Norwegian cultural meeting point.
Spring 2019 they ran a limited pilot for this project on lighthouse island Sula. During this stay they discovered how well these instruments can sound together, how well the three of them worked together as composers and musicians and the deeper parallel between their maritime cultures; when the people of Sula told Michaelis how it was to live next to the sea, of the sea and by the sea, he discovered that they were very similar stories with which he had grown up with in Greece. And it is this discovery of a deeper shared connection between these cultural identities that inspires and motivates this project. They want to research and explore the relationship between these two seafaring nations and express it through these musical pieces. They decided the concept of lighthouse will stand as a symbol for their common seafaring history.
Andreas wants these pieces of music to strengthen and broaden the music life of Norway and he wants to reach this by composing and performing music for an instrument combination that is utterly unique in the world (tarhu, harps, and bandoneon). He also wants to develop this work in order to expand the genre horizons for the bandoneon – 1. through this project we will learn each others styles and one of the most challenging things of this will be to dive into the Greek and Turkish music and that he has to approach music from a different angle to understand it than what he has been taught previously and this will bring him outside his comfort zone which is why it will be so personally developing both on a music theoretical stage and a more personal stage and for his identity as an artist. 2. in this project he will again get to test his own research results from this artistic research thesis but on a bigger stage and in a bigger composition project where the whole idea is based in creating a communication between music styles and instruments that are so fundamentally different.
How Andreas intends to complete these works:
In order to broaden horizon of the composers through trying to understand the music styles where the other musicians have their backgrounds. He wants them to instruct each other and play together in the respective styles and then compose in a fusion of these (reverence). He sees them composing in group play where each individual composer takes sketches to the others and onwards they form it though reflection, dialogue, and improvisation over the material together. This will then be recorded simply and used as a start point for more detailed composing. The music will be written down but in a way where there is room for freedom by the each composer/performer. He wants every musician/composer to make the voice for their own instrument and then combined with ideas from the others the result becomes music which is well adapted to each instrument but still extends beyond the scope usually set by an individual composer/musician limited by their own musicality. To further such the boundaries of this project, Andreas also wants to explore and experiment in composing in detail for each others’ instruments.
Set a focus on how Greece and Norway today can build a stronger collaboration and share a responsibility to protect the maritime environment. As it is understood from the article our oceans are very important to our actual big topic today. Som vi kan forstå ut i fra Ine Eriksen Søreide sin artikkel “Our Oceans” (publisert 26. mars 2019), er dette høyst aktuelt: “Greece and Norway are both maritime nations. We share a commitment to advancing the global ocean agenda.” Hun skriver videre: “Maritime expertise is a key asset for both Norway and Greece. This is particularly true when it is applied in transformative ways to promote economic growth and safeguard the marine environment.” By initiating and continuing a musical intercultural dialogue between Norway and Greece with a special focus on the coastal culture in both nations represented by Samos and Sula. This can be done by focussing on the parallel in the nations stories throughout the phases of the project, making something visible to show how good Norwegians and Greeks collaborate and compliment each other in culture and music.