Hello, how are you?

I am well and I hope you’re well too. Since the last edition, I’ve attended the MUM fair (Professional Music Days in Extremadura), which I’ve mentioned on previous occasions. The photo (by Juan Antonio Vázquez) is from my talk, where I presented a list of ten key ideas for developing a music career, which I shared with Juanlu González, as part of this fair and conference that celebrated its ninth edition this year.

More recently, I went to Budapest Ritmo for the first time. In the second picture I am with Sándor Csoóri, who performed as a guest artist with the band Mordái. He was/is a singer and violinist of the band Buda Folk Band. I say “was/is” because the band split up some years ago but Silvia Winkler told me they’ve reunited. Yeah. Great news! If you don’t know them, check this link and listen to their latest album. I love especially the first piece, sung by Sándor.

I attended RItmo on the occasion of the concert by Ali Doğan Gönültaş, which was on Friday the 11th, in a venue so packed that security had to restrict access. It was my first time attending Budapest Ritmo. Aside from the pleasant setting of Budapest and the House of Music, I enjoyed not only the concerts but also the panels. I had the opportunity to listen to part of the talk between Chris Eckman and Ian Brennan, under the title How Music Dies (or Lives): De-colonizing international music, where they discussed the lack of representation of many countries or cultures even in contexts labeled as “global music.” I appreciate that this issue is increasingly part of the conversation within this kind of community of people working—each from their own perspective—in this field.

I was also glad to meet professionals from countries that aren’t usually so present at international events, such as Albania, Georgia or Romania.

Updates on the latest edition and some good news

In the previous edition I explained that “On the 18th, I received an email from Zone Franche with a press release titled Update: Artists without visas, which you can read in full here.” This press release talked about the cultural cooperation program SAWA SAWA, funded by the Institut Français, supporting around 50 artist residencies for Palestinian and French artists. Two Palestinian artists had been recently unable to travel to France due to unjustified visa delays, causing cancellations and project disruptions. Their statement urged the French government to approve the visas and uphold the free movement of artists as a fundamental part of cultural exchange.

Well, at the beginning of April I learnt from Sébastien Laussel, director of Zone Franche, that the press release had its effect and both artists have been granted their visas. Great news indeed!

Related to my participation on the panel “The new narratives for traditional music in the face of current political challenges” at Babel Music XP 

Our protagonist today is Sofia Labropoulou, a Greek kanunist and composer based in Vienna. When I started preparing my talk for Babel Music XP, an initiative by Sofia immediately came to mind: the concert and workshop series Unbounded Sounds. I thought that project is a response to the issue. A migrant artist within Europe organizes a series of concerts with artists who will travel especially from other countries, and with artists of diverse backgrounds, also based in Vienna, some Austrian and others with Iranian and Kurdish background, in this first edition. It is a pleasure to contribute to the visibility of this initiative by Sofia, which I feel comes from her deepest honesty and generosity, her love for art, and her concept of music as a means of communication that transcends borders.

Is Sofia making a “new narrative”? I don’t think that’s her goal, but naturally—almost as a normal step in her artistic path—she’s helping shape a new one.

After years of collaborating with artists from all over the world, I felt the need to offer this kind of artistic dialogue to a wider audience. A space where tradition and innovation are not in opposition, but coexist—sometimes in harmony, sometimes in tension. What is “old,” what is “new”? These are questions I don’t try to answer definitively. I prefer to leave them open. For me, the focus is the Sound itself—and how we can become one with it or through it.I invite musicians I admire deeply—artists whose sound, presence, and approach to music move me. This personal connection is at the heart of Unbounded Sounds.

A big part of the experience is the audience. Their presence, energy, and openness shape the atmosphere of each moment. And then, there are the seminars. For me, these are as essential as the concerts. I always feel like a student, no matter what I’m doing. And what a privilege it is to have the chance to spend a little more time around and learn from the invited wonderful artists—to learn, to listen, to feel and become part of their experience.

Vienna has been my home and artistic base for the past five years. Its deep musical heritage and vibrant multicultural landscape made it feel like the right place to begin this journey.

AT: I imagine it’s quite a lot of work to organize all of this, and I haven’t seen any sponsor logos, so I assume that the project’s funding comes from ticket sales. Even though the line-ups are small, there are some artists who have to travel from other countries, which involves some expenses. There is always some financial risk. Considering all this, I imagine you have very clear objectives that have led you to embark on this project. What are they?

SL: Yes, you’re absolutely right—there is a significant amount of work and also financial risk involved. On top of that, being both a musician and an organizer/artistic director requires a completely different mindset. That’s another challenge in itself: to move between these two roles while staying connected to the core of the music.

At this stage, the series—both the concerts and the workshops—is primarily funded through ticket sales, personal investment, and a lot of goodwill from the artists, collaborators, and friends who believe in the vision. As you very well noticed, there’s no public or private funding behind it yet. But for me, this first edition is something like a demo. A first gesture. I want to show what can be done just by the pure need of it—and simply, to do it. So, for this first edition, all the risk is mine alone, nobody else will not, should not and must not be affected. That is also essential.

Of course, the financial side is a reality, but the deeper motivation goes far beyond that. It’s about strengthening the local scene, creating space for mobility and dialogue, and offering the chance for new artistic encounters. I don t want to say a lot because my intention is not to preoccupy a situation. I think that music and art can speak by itself. I invite everyone just to come and listen and then decide.

My main objective is to create a space where we musicians can explore new formats of collaboration in front of an audience that values improvisation, experimentation, and shared presence. I want to demonstrate the richness of new sounds and artistic risk-taking—to show how much beauty can emerge when we are willing to meet each other without preconceptions, with curiosity and openness.

AT: What requirements do participants in the workshops have to meet? Do they need to know music and play an instrument?

SL: The workshops are open to instrument players and singers of all levels, composers, or sound artists. Some familiarity with improvisation can be helpful, but it’s by no means essential. What truly matters is openness, curiosity, and a willingness to listen, explore, and engage with others.
One can participate actively or as an observer.

Each workshop reflects the unique artistic identity of the guest musician. They’re not designed as technical masterclasses at least at this first edition, but rather as hands-on explorations of musical ideas.

For me, it’s also about creating community around this scene. A moment of coming together, where participants and artists meet not through hierarchy or skill level, but through a shared love of sound, listening, and expression.

AT: From an artistic perspective, what challenges does organizing these collaborations present for you guys? Will it require a lot of prior preparation, or do you already share a certain musical language?

SL: Each collaboration brings its own unique set of challenges and opportunities. In projects like this, you don’t always have the luxury of extended rehearsal time—especially when resources are limited. To be honest, I would love it if in the future editions each concert could be preceded by a 5–6-day residency. That would open up so many creative possibilities. But that’s a completely different financial reality.

Some of us already share a musical language or history; others are meeting on stage for the first time. There’s always a delicate balance between preparation and spontaneity. We of course rehearse before the concert, as the guest artist is required to be in Vienna a minimum of two days earlier before the concert, but we intentionally leave space for the unknown—for risk-taking, for that fragile, powerful moment where something unexpected can emerge.

That’s part of what makes this series so alive and exciting. Improvisation is the thread that connects all the artists involved—whether it’s modal improvisation, jazz, free improvisation, or other open forms of musical expression. We all come with our own voices, but we share the willingness to listen, to trust, and to respond.

Every concert has a completely different nature and way it is being formed depends entirely on common decisions.

AT: Do you plan to repeat it in 2026? 

SL: Yes, I truly hope so. The vision behind Unbounded Sounds was never meant to be limited to a single year. My dream is to develop it into an ongoing platform for musical dialogue—something that can grow over time, evolve, and respond to the artists and audiences it brings together.

Of course, whether it continues depends largely on funding and support. But even now, after the first concert, I can already feel that there’s a real interest, a need, and a space for this kind of initiative.

I’ll be in a better position to answer this question more concretely around October though—but the desire is very much there.

AT: For those who want to share this initiative in their media, I must say that on the website, at the bottom right, there is a link to press materials that is very complete and well-organized. But in case they want to interview you or any of the other participating artists, how can they contact you?

SL: Thank you so much for mentioning the press section and the website. It means a lot. The site was created by Yiota Vergo Web Stories ( y-vergo.com), and we put a lot of care into making the press materials accessible, clear, and well-organized.

Since I currently handle most aspects of the series myself, it was important to have everything in one obvious, easy-to-navigate place—to make it as effortless as possible for anyone who wants to share or support the initiative.

That said, I’m definitely not doing this alone. I want to thank Sotiris Bekas, for his unwavering support. He’s responsible for all the visual material—videos, teasers, documentation—which is another crucial part of Unbounded Sounds. Capturing and sharing the process is really important for us.

For interviews with the artists or any media inquiries, I can be contacted directly via the contact form on the website: www.unboundedsounds.com, or by email at contact@unboundedsounds.com.

AT: If you’d like to share any other thoughts, please feel free.

SL: I don’t know if it’s about gratitude.
What I know is: those beautiful artists said yes. I hope that they did because something in the silence before the music called them. That’s rare. And I don’t take it lightly.
Unbounded Sounds is not a festival, is not a brand, not a project. It is a room with instruments and people who still believe in something they can’t explain.

The second concert and workshop of Unbounded Sounds will take place on May 13 and 14. Our guest artist from abroad is the brilliant Efrén López. We will perform together in the first set, and in the second set, we’ll be joined by the wonderful singer Sakina Teyna.

Schedule:

09 October – arrive – 19.00 Reception hosted by D.O. Pla de Bages
10 October – Conference 10.30 – 18.00
11 October – Conference 10.30 – 18.00
12 October – depart

For more details and to register, check this link: https://www.eventbrite.co.uk/e/efn-2025-conference-in-manresa-tickets-1328315370029?aff=oddtdtcreator

About the Fira Mediterrània 

From its side, according to its website, the Fira Mediterrània de Manresa “works with what we call the 360 degrees of the root, starting with the first level, the intangible heritage, continuing through the associations of popular and traditional culture, which start with that heritage and work to connect it with society, and ending with the professional sector, the artists whose creations are based on that tradition. At the Fira, we attach particular importance to the interchange, interrelation and intersection of all of those.”

On the picture, you have the the poster for the 28th Fira Mediterrània of Manresa: a heart made of musical instruments and stage elements takes center stage. According to their communication, “the idea is to visually represent this year’s theme: creation in the folk and roots-based arts.” For more information about the Fira, visit their website.

The 18th edition of the competition has been launched, with the final rounds scheduled from October 9 to 11, 2025, in Cagliari. The call for applications is now open, with free registration available until May 9, 2025, through the official website www.fondazioneandreaparodi.it.

The winner and several finalists will receive significant prizes, including opportunities to perform at major Italian music festivals.