Interview with Composer Michalis Andronikou

Michalis Andronikou holds a PhD in composition, Master degrees in musicology, and diplomas in Classical Guitar, Clarinet, Music Theory and Byzantine Music. Andronikou performs as a guitarist and on Greek folk instruments such as lute, tamboura and bouzouki. He has composed music for small and large ensembles, theatre plays, art exhibits, movies and songs. He is an associate composer of the Canadian Music Centre, a member of the Canadian League of Composers, a theory examiner of the Royal Conservatory of Music, a member of the Greek Composers Union, a member of the Center of Cypriot Composers and an Ambassador of Culture for the Hellenic Institute of Cultural Diplomacy - Cyprus.

____

Michalis, you've built a distinguished career as a composer, performer, musicologist and educator, and your music is regularly performed around the world. Having begun your musical journey in Greece before settling in Canada, your work reflects a rich multicultural identity. How do you see your role as a cultural bridge between these two distinct worlds?

Although my journey started as a quest for a personal musical language, it has gradually evolved into a dialogue between various styles from Eastern Mediterranean to Western contemporary music, and from Latin American to African and jazz music. 

As an eclectic musician, I balance between composition and teaching, while enriching these roles with any other relevant activity, either as an improviser, an examiner, a judge in competitions, a clinician and an ambassador of culture. 

Connecting whatever I find beautiful from the cultures I am familiar with and the cultures that I am exploring, allows me to see beauty everywhere and build on that. I seek collaborations with people from every culture, and I learn from all of them, which hopefully results in artistic growth along with building cultural bridges and communication.

It can be difficult for immigrants coming to Canada, and everyone has a unique story. What was your experience like, moving to Canada?

I was born in Cyprus, in a family that was internally displaced from the northern part to the southern part of the island, a few years before my birth. 

The experience of estrangement that existed in the family is something that is reflected in my music. I moved to Athens, Greece, and studied musicology, composition, Byzantine music, Eastern mediterranean instruments, as if I had to discover a new “imaginary music place” that felt like home. 

I soon realized that the “place” I was looking for is my music. I came to Canada to do a PhD in composition, and distance myself from music ideas that are related either to a central European model or a second belated nationalism in music from Greece. 

As a recent Canadian who still carries his Greek Cypriot identity and culture, I feel lucky to have experienced all these different cultures. 

Do you have any advice for other artists looking to build a life and career in a country where they did not grow up? 

Everyone’s experience is different, and it might be misleading to advise anyone based on my experience. However, remaining positive and open to new experiences is key for any immigrant artist, as people do things differently in different places. Patience is important, as good music of any style will be eventually appreciated. 

Finally, the journey of an immigrant artist is a journey into the soul, as you get to understand things about your character, behaviour and mentality that can benefit your music – if you give it the necessary attention.

We live in an increasingly divided world. How do you think Canadian society can benefit from intercultural artistic collaboration? 

As an eclectic musician, I value the power of intercultural artistic collaboration to reapproach the primordial essence of beauty. Canadian society has been enriched and empowered by intercultural relations of all kinds. 

In arts, this brings strength, openness and freshness in all styles, forms and expressions. Personally, I am grateful to Canadian musicians, artists, and the Canadian society for embracing what I do, and what other immigrant artists do, by accepting it as their own. 

As a multi-instrumentalist, how does your experience with classical guitar, clarinet, Byzantine music and Greek folk instruments shape your compositional voice?

Each instrument showed me a way, a method, a technique and its voice, while  – through improvisation – I was able to discover what I wanted to do with my music. 

Although many times I start from an idea that I try on any of the instruments I play, I also write without the instruments. I use my inner ear, my imagination and my experience equally as much, and I feel free in expressing what I want to say, this way.

Lithuanian guitarist Ieva Baltmiškytė recently released an album of your compositions titled The Strings of My Soul, a collaboration which began with a single lute piece. What was the creative process like, and how did the collaboration shape the final work?

In 2016, I wrote a lute piece titled Hommage à Francesco da Milano inspired by the music of the Renaissance lutenist and composer, which I sent to Ieva a few years later. 

She quickly produced a wonderful video, which was filmed at a 16th century house in Bruges, Belgium, and can be found on YouTube. This video received positive comments from lutenists, guitarists, and other musicians from around the world, and encouraged us to continue our collaboration. 

I wrote more for Ieva, as she wanted another lute piece and a piece for an 11-string guitar. [I also] sent her many pre-existing guitar pieces of mine, from which she selected some for our album. 

In this journey, we have been lucky to have Jacques Dejean and Plaza Mayor Company as our fellow travellers and supporters. We are also grateful for Oleg Boyko’s participation in the Latin Suite for two guitars.

What advice would you give to young composers interested in writing for classical guitar, especially those looking to create music that bridges cultural traditions?

To learn the instrument as well as possible and listen to a lot of guitar music. Also, think outside the box, trust their instinct, and be honest with the music they write – as it should satisfy them, first.

What's next for you? Do you have any upcoming projects or collaborations that you’re particularly excited about?

I have many upcoming projects, concerts, presentations and collaborations on the go. To mention a few:

• Katiana Georga, a Greek French pianist who resides in Paris, France, recently released an album titled “Diaspora” with my piano music. [She] will be recording some chamber music of mine and will be performing my music in France and Greece. 
• A CD with 15 songs on poetry by Giorgos Mastrogiannopoulos for voice (Elektra Karali) and guitar (Panos Megarchiotis) will be released this Summer by Da Vinci, in Italy.
• An album with 12 songs on Greek mid-war poetry will be recorded this year by singer Alexandra Kladi and pianist Spiros Deligiannopoulos.
  

_____

ALBUM REVIEW:

With The Strings of My Soul, Michalis Andronikou crafts an intimate and evocative sound world, brought to life through Ieva Baltmiškytė’s sensitive interpretations. From the gentle introspection of Light from Light to the rhythmic vitality of Pendulum, each piece reveals a unique facet of both Andronikou’s and Baltmiškytė’s artistry.

Album: The Strings of my Soul

Artist: Ieva Baltmiškytė

Release: 2023

Label: Plaza Mayor Company

14 tracks (40 min)