Award-Winning Composer/Songwriter Nikos Platyrachos Discusses His Music

todayMarch 27, 2022

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ATHENS – Nikos Platyrachos writes music. He has composed the rating for over 30 movies in Greek and European cinema and has been awarded many occasions for his giant physique of labor which has been acknowledged internationally. He additionally writes music for performs, in addition to works for orchestra and smaller ensembles that are carried out in Greece and different European cities.

In recent times, Platyrachos has additionally been concerned in songwriting. In his most up-to-date albums Mavri Bogia sto Marmaro (Black Paint on Marble), Ta Astega (The Homeless), and Oneirografia (Dream Portray), he has collaborated with famend artists similar to George Dalaras, Dimitris Zervoudakis, Aphrodite Manou, Eleftheria Arvanitaki, and Psarantonis (Antonis Xylouris), amongst others, imparting his personal musical model as a songwriter. Platyrachos spoke with The Nationwide Herald about his profession in music.

Nikos Platyrachos conducting the ERT Up to date Music Orchestra in a live performance with songs by the Beatles. Photograph: Courtesy of Nikos Platyrachos

TNH: What had been the three most essential moments of your music profession and what had been the most important difficulties you encountered?

Nikos Platyrachos: An essential second was my first music for the cinema, in Munich in 1990, for the movie Flight into the Evening by Harry Patramanis. One other such second was my first orchestral album launched in 2000 known as “September” with the Orchestra of Colours and Miltos Logiadis as conductor. And a 3rd was “Ta Astega” in 2015, which had been songs based mostly on an idiom between ragtime and rebetiko, with George Dalaras because the lead singer. All three of those instances, a little bit for his or her agony, a little bit for his or her experimentation, contained a tightrope stroll, as we’d say, an preliminary feeling of the inconceivable, however I believe for me, it offers me oxygen and a purpose to exist, perhaps in artwork typically. The difficulties I confronted had been primarily the prices of some producers – I’m admittedly a bit “costly” in my decisions – and considerably within the suffocating occasions, particularly with the audiovisual features.

TNH: Whilst you have an extended profession within the discipline of orchestral music, you’ve got solely comparatively lately been concerned in songwriting. Why had been you late to introduce your self to us as a songwriter?

NP: Let me let you know, at first I used to be a little bit … “snug” with the performing arts! I exploit the phrase for data, which means that this discipline, along with its magic and fairy story features, incorporates a sure ease, by way of the composition of the uncooked materials music, since it’s based mostly on a script, a libretto, then the picture, and many others. This supplies an emotional start line for a composer to start. There isn’t a such factor within the track, aside from the lyrics, after all. There, this “background” have to be created by the musician, from nearly nothing. So I had a relationship with track for a few years… two-way conceitedness! I thought-about it (wrongly, after all) one thing quite simple, however once I was making an attempt to write down, it was very tough for me to attain this simplicity! Let me let you know, a few taxi drivers additionally helped me, who once I instructed them that I used to be a musician, stored asking me “what songs do you write…”. So – a soul that has to come back out – I made my first try with Oneirografia and from then on, issues went like water off a duck’s again. In fact, I’ve to let you know that the idea of track is a totally completely different world from the remainder of the music artwork, so it’s important to be re-baptized from the start.

Nikos Platyrachos, award-winning composer and songwriter, at left, has collaborated with many famend artists, together with Psarantonis (Antonis Xylouris). Photograph: Courtesy of Nikos Platyrachos

TNH: In your album “The Homeless” the rebetiko factor merged with the American ragtime, two forms of music that advanced in fully completely different components of the world. How did this so profitable musical mixture come about?

NP: Initially it emerged as… repulsed! Each of those genres had been highly regarded with me from a really younger age. So usually, on numerous artificial improvisations, I used each kinds and located that that they had loads in frequent in music (harmonics, rhythm, and many others.) and will one way or the other “unite” into one mix. Maybe this musical match – and even complementarity we’d name it – stems from their frequent sociological roots, since each come from a form of underworld, the streets, bohemian, and many others., no matter their nice geographical distance. The venture got here to an finish, if not additional fired by George Dalaras, this tireless employee in artwork, who, along with his at all times looking out and anxious gaze, contributed decisively to the ultimate consequence, having an incredible function even in its creation.

Left to proper: Dimitris Lentzos, Aphrodite Manou, Nikos Platyrachos, George Dalaras, Vicky Karatzoglou, Dimitris Zervoudakis, and Dimitris Kappos on the presentation of the work Mavri Bogia sto Marmaro (Black Paint on Marble). Photograph: NDP Photograph Company/ Thomas Daskalakis

TNH: Within the album Black Paint on Marble which musical style is dominant?

NP: We’d say primarily the laiko (widespread) factor, though with some admixtures from American Nation music. Right here I’ve to let you know that the lyrics had been those that “coloured” even the musical model of the entire album, containing the laiko factor in a really heretical means and with in the present day’s look, as solely Dimitris Lentzos can do.

Nikos Platyrachos and the late legendary composer Mikis Theodorakis. Photograph: Courtesy of Nikos Platyrachos

TNH:  What’s your subsequent inventive step?

NP: Now I’m engaged on the music for a documentary by Chrysostomos Krikelis and one other one by Vassilis Loules, in addition to a whole album in poetry by Dimitris Lentzos. On the similar time, I’m engaged on a symphonic work entitled Oi Sporoi tis Smyrnis (The Seeds of Smyrna), for orchestral ensemble, conventional soloists (POLIS Ensemble), choir, and Maria Farantouri as soloist, for concert events in the summertime on the event of the one centesimal anniversary of the Asia Minor Disaster.

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