How did your collaboration come about?
We first met in 1995 at a course for early music in the Pyrenees, la Seu d’Urgell, Spain. Later, we studied early music together at Schola Cantorum in Basel, where we shared many moments of chamber music and baroque operas. We became a couple in 1998, but it wasn’t until 2009 that we founded our ensemble, Hirundo Maris. This year marks our 15th anniversary as an ensemble. Before officially naming our ensemble, we performed together under no fixed name. Our deep love for early music, traditional music, and improvisation is something that has always shaped every project we undertake.
Can we say that “Chants du sud et du nord” not only traces a fascinating musical journey but also tells your own story, given that Arianna Savall is of Catalan origin and Petter Udland Johansen was born in Oslo?
Yes, absolutely. Even as students, we were captivated by each other’s musical cultures. There were many late-night gatherings where Arianna would sing Catalan folk songs, and Petter would share Norwegian melodies. It became clear to us how much these two traditions had in common. We draw deeply from our respective cultures, and by merging these influences, we aim to create something new—our own musical universe. These traditions are so rich, and it is important for us to preserve them, while also letting them breathe and evolve through our music.
The program alternates between well-known pieces of early and baroque music as well as folk songs. Is your approach to these two types of compositions different?
Yes, the difference lies in how the classical compositions often follow a set structure that one must respect and understand. Once you know the rules, there is a certain freedom to interpret and even improvise within the framework, but you are still somewhat bound to the composer’s intentions. In folk music, although you also need to be aware of traditions and the way things have been done through history, there is more space for improvisation and creating your own arrangements and interpretations. The way of singing can also differ between the two. Much of the folk music we perform contains long narratives with a ballad-like character, so the storytelling aspect plays an even more central role than it might in classical music.
You will accompany your voices with a variety of harps and violins. Can you briefly describe the main characteristics of your instruments?
- Gothic Harp (Gotische Harfe): This harp dates back to the Middle Ages and Renaissance, with fewer strings compared to modern harps. Its sound is clear and delicate, perfect for early music, often evoking a pure and ethereal quality.
- Lyre: An ancient stringed instrument, beloved in ancient Greece. It has a small, portable frame, and its strings are plucked either by fingers or a plectrum. The lyre has a gentle, lyrical sound, deeply intertwined with poetry and storytelling.
- Triple Baroque Harp (Triplebarockharfe): This harp features three rows of strings, allowing the musician to play chromatic notes without pedals. It has a rich, full-bodied sound and was widely used during the baroque era.
- Hardanger Fiddle (Hardangerfiedel): A Norwegian folk violin with additional sympathetic strings beneath the main ones. It produces a distinctive, droning sound, often heard in traditional Norwegian dances and tunes. The instrument is intricately decorated and has a deep, resonant tone that feels both ancient and alive.
- Mandolin: A small, lute-like instrument with double courses of strings, typically arranged in four pairs. It has a bright, sharp tone and is used in a wide variety of musical genres, including folk, baroque, and classical music.
Interview byLiana Püschel for Unione Musicale
