\u00b7 Editorial
\nAfter\u00a0<\/span><\/span>Budapest Ritmo<\/span>, some good news from\u00a0<\/span>Zone Franche<\/span>\u00a0and a reflection on my participation on the panel at<\/span>\u00a0Babel Music XP<\/span><\/span><\/h5>\n\u00b7 Talk with <\/span>Sofia Labropoulou<\/span>\u00a0about\u00a0<\/span>Unbounded Sounds<\/span><\/h5>\n\u00b7 The<\/span>\u00a0European Folk Network\u00a0<\/span>announces dates and location of its 6th annual conference<\/span><\/h5>\n\u00b7 Brief news from the media, charts and sister projects<\/span><\/h5>\n\u00b7 Open calls: Afro Pepites, Premio Andrea Parodi<\/span><\/h5>\n\u00b7 Meet me at \u2708\ufe0f<\/span><\/h5>\n
\n <\/p>\n
![](\"https:\/\/mcusercontent.com\/993c677d53044839b1b39b2dc\/images\/2995955e-b87a-2880-6de9-50c1d806d55b.jpg\")
<\/p>\n
\u27a1\ufe0f This is the link for subscription<\/a><\/h1>\n\nHello, <\/strong>how are you?<\/strong><\/p>\nI am well and I hope you’re well too. Since the last edition, I\u2019ve attended the MUM fair<\/a>\u00a0(Professional Music Days in Extremadura), which I\u2019ve mentioned on previous occasions. The photo (by Juan Antonio V\u00e1zquez) is from my talk, where I presented a list of ten key ideas for developing a music career, which I shared with Juanlu Gonz\u00e1lez, as part of this fair and conference that celebrated its ninth edition this year.<\/p>\nMore recently, I went to Budapest Ritmo for the first time. In the second picture I am with S\u00e1ndor Cso\u00f3ri, who performed as a guest artist with the band Mord\u00e1i. 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<\/a>\u00a0and listen to their latest album. I love\u00a0especially the first piece, sung by S\u00e1ndor.<\/p>\n![](\"https:\/\/mcusercontent.com\/993c677d53044839b1b39b2dc\/images\/a6f3608d-91bf-0f7c-60bc-1ae3d46487b9.jpg\")
I attended RItmo\u00a0on the occasion of the concert by Ali Do\u011fan G\u00f6n\u00fclta\u015f, which was on Friday the 11th, in a venue so packed that security had to restrict access.\u00a0It 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\u00a0How Music Dies (or Lives): De-colonizing international music<\/em>, 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\u2014each from their own perspective\u2014in this field.<\/p>\nI was also glad to meet professionals from countries that aren\u2019t usually so present at international events, such as Albania, Georgia or Romania.<\/p>\n
Updates on the latest edition and some good news<\/strong><\/p>\nIn the previous edition I explained that “On the 18th, I received an email from Zone Franche with a press release titled\u00a0Update: Artists without visas<\/em>, which you can read in full\u00a0here<\/a>.” This press release talked about the cultural cooperation program SAWA SAWA, funded by the Institut Fran\u00e7ais, 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.\u00a0Their statement urged the French government to approve the visas and uphold the free movement of artists as a fundamental part of cultural exchange.<\/p>\nWell, at the beginning of April I learnt from S\u00e9bastien Laussel, director of Zone Franche, that the press release had its effect and both artists have been granted their visas. Great news indeed!<\/p>\n
Related to\u00a0my participation on the panel “The new narratives for traditional music in the face of current political challenges” at Babel Music XP\u00a0<\/strong><\/p>\nOur 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\u00a0Unbounded Sounds<\/em>. 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.<\/p>\nIs Sofia making a “new narrative”?\u00a0I don\u2019t think that\u2019s her goal, but naturally\u2014almost as a normal step in her artistic path\u2014she\u2019s helping shape a new one.<\/p>\n<\/div>\n
I hope you will enjoy these contents. Thank you for your attention.<\/p>\n
<\/div>\n
\nRemember: if you have any news of interest for our community, let me know. Thank you very much for your attention.
\n<\/strong>Araceli Tzigane | Mapamundi M\u00fasica\u00a0|\u00a0+34 676\u00a030 28 82\u00a0<\/strong><\/h5>\n
\n <\/p>\n
AND NOW THE FLOOR IS FOR:\u00a0<\/span><\/strong>
\nSOFIA LABROPOULOU, ABOUT\u00a0THE SERIES OF CONCERTS AND WORKSHOPS “UNBOUNDED SOUNDS”<\/span><\/strong><\/h3>\nI first met Sofia Labropoulou in Belgrade, on the occasion of the festival Todo Mundo, in September 2021. I was already familiar with her work through the album\u00a0Sisyphus<\/em>.\u00a0And we’ve stayed in touch ever since. A few months ago, she announced her new project:\u00a0Unbounded Sounds<\/em>. This is the main focus of our interview this time.<\/span><\/p>\n~ While you read the interview, you can enjoy listening the album\u00a0Sisyphus<\/em>,\u00a0here<\/a>\u00a0<\/strong>\ud83c\udfb6~<\/strong><\/span><\/p>\n![](\"https:\/\/mcusercontent.com\/993c677d53044839b1b39b2dc\/images\/9db7e594-f78d-fc26-217e-a99780eb5b3b.png\")
<\/span><\/strong>As explained on the press release,\u00a0“Unbounded Sounds is a music series created by the kanun virtuoso, improviser and composer Sofia Labropoulou. Debuting in 2025 at the Sargfabrik Kulturhaus, this series invites audiences to experience a unique blend of folk traditions, contemporary innovation, and Vienna\u2019s rich music diversity.
\nThe inaugural edition features a series of five unique concerts, each showcasing a two-part format. In the first part,\u00a0Sofia Labropoulou collaborates with an internationally acclaimed artist in a duet, exploring musical influences from\u00a0folk, jazz, experimental, and improvised music traditions. In the second part, a local Viennese artist joins to form a trio,\u00a0creating space for dialogue and unexpected musical connections.<\/em>“<\/span><\/p>\nThe program of concerts is:\u25ab\ufe0f15.03.25 Sokratis Sinopoulos (Lyra\/Istanbul Kemen\u00e7e), Sofia Labropoulou (Kanun) & Sarvin Hazin (Kamanche)<\/span>
\n\u25ab\ufe0f13.05.25 Efr\u00e9n L\u00f3pez (Oud), Sofia Labropoulou (Kanun) & Sakina Teyna (Voice)<\/span>
\n\u25ab\ufe0f09.10.25 Michel Godard (Serpent), Sofia Labropoulou (Kanun) & Tahereh Nourani (Flute, E-Bass, Objects)<\/span>
\n\u25ab\ufe0f06.11.25 Chris Jennings (Double-Bass), Sofia Labropoulou (Kanun) & Verena Zeiner (Piano)<\/span>
\n\u25ab\ufe0f04.12.25 Shabnam Parvaresh (Bass-Clarinet), Sofia Labropoulou (Kanun) & Matthias Loibner (Hurdy-Gurdy)<\/span><\/p>\nOn\u00a0the website<\/a><\/strong>\u00a0you can find many more details. And in\u00a0this link<\/a>\u00a0you have the press kit.\u00a0Sofia shares some additional reflections with us in this interview.<\/p>\nAraceli Tzigane: How did the idea initially come about?<\/strong><\/span>![](\"https:\/\/mcusercontent.com\/993c677d53044839b1b39b2dc\/_compresseds\/8fc96e56-0752-463e-b6a0-f06a64333a06.jpg\")
Sofia Labropoulou:\u00a0<\/strong>The idea for\u00a0Unbounded Sounds<\/em>\u00a0grew out of a long-standing desire to create a space where musicians from different traditions, genres, and backgrounds could meet\u2014not to define, compare, or fuse\u2014but simply to\u00a0listen\u00a0<\/em>to each other and to share sound, freely and openly.\u00a0<\/span><\/p>\nThis\u00a0portrait of Sofia is by Vegeldaniel.<\/span><\/p>\n\nAfter 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\u2014sometimes in harmony, sometimes in tension. What is \u201cold,\u201d what is \u201cnew\u201d? These are questions I don\u2019t try to answer definitively. I prefer to leave them open. For me, the focus is the Sound itself\u2014and how we can become one\u00a0with\u00a0<\/em>it or\u00a0through\u00a0<\/em>it.<\/span>I invite musicians I admire deeply\u2014artists whose sound, presence, and approach to music move me. This personal connection is at the heart of\u00a0Unbounded Sounds<\/em>.<\/p>\nA 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\u2019m 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\u2014to learn, to listen, to feel and become part of their experience.<\/p>\n
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.<\/p>\n
AT: I imagine it\u2019s quite a lot of work to organize all of this, and I haven\u2019t seen any sponsor logos, so I assume that the project\u2019s 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?<\/strong><\/span><\/p>\nSL:\u00a0<\/strong>Yes, you’re absolutely right\u2014there 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\u2019s another challenge in itself: to move between these two roles while staying connected to the core of the music.<\/span><\/p>\nAt this stage, the series\u2014both the concerts and the workshops\u2014is 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\u2019s 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\u2014and 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.<\/p>\n
Of course, the financial side is a reality, but the deeper motivation goes far beyond that. It\u2019s 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.<\/p>\n
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\u2014to show how much beauty can emerge when we are willing to meet each other without preconceptions, with curiosity and openness.<\/p>\n
![](\"https:\/\/mcusercontent.com\/993c677d53044839b1b39b2dc\/images\/6fe1194f-15cd-1c3f-74e4-2340aa1f834d.jpg\")
AT: What requirements do participants in the workshops have to meet? Do they need to know music and play an instrument?<\/strong><\/span><\/p>\nSL:\u00a0<\/strong>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\u2019s by no means essential. What truly matters is openness, curiosity, and a willingness to listen, explore, and engage with others.\u2028One can participate actively or as an observer.<\/span><\/p>\nEach workshop reflects the unique artistic identity of the guest musician. They\u2019re not designed as technical masterclasses at least at this first edition, but rather as hands-on explorations of musical ideas.<\/span><\/p>\nFor 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.<\/p>\n
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?<\/strong><\/span><\/p>\nSL:\u00a0<\/strong>Each collaboration brings its own unique set of challenges and opportunities. In projects like this, you don\u2019t always have the luxury of extended rehearsal time\u2014especially when resources are limited. To be honest, I would love it if in the future editions each concert could be preceded by a 5\u20136-day residency. That would open up so many creative possibilities. But that\u2019s a completely different financial reality.<\/span><\/p>\nSome of us already share a musical language or history; others are meeting on stage for the first time. There\u2019s 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\u2014for risk-taking, for that fragile, powerful moment where something unexpected can emerge.<\/p>\n
That\u2019s part of what makes this series so alive and exciting. Improvisation is the thread that connects all the artists involved\u2014whether 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.<\/p>\n
Every concert has a completely different nature and way it is being formed depends entirely on common decisions.<\/p>\n
AT: Do you plan to repeat it in 2026?\u00a0<\/strong><\/span><\/p>\nSL:\u00a0<\/strong>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\u2014something that can grow over time, evolve, and respond to the artists and audiences it brings together.<\/span><\/p>\nOf course, whether it continues depends largely on funding and support. But even now, after the first concert, I can already feel that there\u2019s a real interest, a need, and a space for this kind of initiative.<\/p>\n
I\u2019ll be in a better position to answer this question more concretely around October though\u2014but the desire is very much there.<\/p>\n
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?<\/strong><\/span><\/p>\nSL:\u00a0<\/strong>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 (\u00a0y-vergo.com<\/a>), and we put a lot of care into making the press materials accessible, clear, and well-organized.<\/span><\/p>\nSince I currently handle most aspects of the series myself, it was important to have everything in one obvious, easy-to-navigate place\u2014to make it as effortless as possible for anyone who wants to share or support the initiative.<\/p>\n
That said, I\u2019m definitely not doing this alone. I want to thank Sotiris Bekas, for his unwavering support. He\u2019s responsible for all the visual material\u2014videos, teasers, documentation\u2014which is another crucial part of\u00a0Unbounded Sounds<\/em>. Capturing and sharing the process is really important for us.<\/p>\nFor interviews with the artists or any media inquiries, I can be contacted directly via the contact form on the website:\u00a0www.unboundedsounds.com<\/a>, or by email at contact@unboundedsounds.com.<\/p>\nAT: If you\u2019d like to share any other thoughts, please feel free.<\/strong><\/span><\/p>\nSL:\u00a0<\/strong>I don\u2019t know if it\u2019s about gratitude.
\nWhat I know is: those beautiful artists said yes. I hope that they did because something in the silence before the music called them. That\u2019s rare. And I don\u2019t take it lightly.
\nUnbounded 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\u2019t explain.<\/span><\/p>\nThe second concert and workshop of\u00a0Unbounded Sounds\u00a0<\/em>will take place on May 13 and 14. Our guest artist from abroad is the brilliant Efr\u00e9n L\u00f3pez. We will perform together in the first set, and in the second set, we\u2019ll be joined by the wonderful singer Sakina Teyna.<\/p>\n<\/div>\n
\u00b7 The<\/span>\u00a0European Folk Network\u00a0<\/span>announces dates and location of its 6th annual conference<\/span><\/h5>\n\u00b7 Brief news from the media, charts and sister projects<\/span><\/h5>\n\u00b7 Open calls: Afro Pepites, Premio Andrea Parodi<\/span><\/h5>\n\u00b7 Meet me at \u2708\ufe0f<\/span><\/h5>\n
\n <\/p>\n
<\/p>\n
\u27a1\ufe0f This is the link for subscription<\/a><\/h1>\n\nHello, <\/strong>how are you?<\/strong><\/p>\nI am well and I hope you’re well too. Since the last edition, I\u2019ve attended the MUM fair<\/a>\u00a0(Professional Music Days in Extremadura), which I\u2019ve mentioned on previous occasions. The photo (by Juan Antonio V\u00e1zquez) is from my talk, where I presented a list of ten key ideas for developing a music career, which I shared with Juanlu Gonz\u00e1lez, as part of this fair and conference that celebrated its ninth edition this year.<\/p>\nMore recently, I went to Budapest Ritmo for the first time. In the second picture I am with S\u00e1ndor Cso\u00f3ri, who performed as a guest artist with the band Mord\u00e1i. 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<\/a>\u00a0and listen to their latest album. I love\u00a0especially the first piece, sung by S\u00e1ndor.<\/p>\nI attended RItmo\u00a0on the occasion of the concert by Ali Do\u011fan G\u00f6n\u00fclta\u015f, which was on Friday the 11th, in a venue so packed that security had to restrict access.\u00a0It 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\u00a0How Music Dies (or Lives): De-colonizing international music<\/em>, 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\u2014each from their own perspective\u2014in this field.<\/p>\nI was also glad to meet professionals from countries that aren\u2019t usually so present at international events, such as Albania, Georgia or Romania.<\/p>\n
Updates on the latest edition and some good news<\/strong><\/p>\nIn the previous edition I explained that “On the 18th, I received an email from Zone Franche with a press release titled\u00a0Update: Artists without visas<\/em>, which you can read in full\u00a0here<\/a>.” This press release talked about the cultural cooperation program SAWA SAWA, funded by the Institut Fran\u00e7ais, 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.\u00a0Their statement urged the French government to approve the visas and uphold the free movement of artists as a fundamental part of cultural exchange.<\/p>\nWell, at the beginning of April I learnt from S\u00e9bastien Laussel, director of Zone Franche, that the press release had its effect and both artists have been granted their visas. Great news indeed!<\/p>\n
Related to\u00a0my participation on the panel “The new narratives for traditional music in the face of current political challenges” at Babel Music XP\u00a0<\/strong><\/p>\nOur 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\u00a0Unbounded Sounds<\/em>. 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.<\/p>\nIs Sofia making a “new narrative”?\u00a0I don\u2019t think that\u2019s her goal, but naturally\u2014almost as a normal step in her artistic path\u2014she\u2019s helping shape a new one.<\/p>\n<\/div>\n
I hope you will enjoy these contents. Thank you for your attention.<\/p>\n
<\/div>\n
\nRemember: if you have any news of interest for our community, let me know. Thank you very much for your attention.
\n<\/strong>Araceli Tzigane | Mapamundi M\u00fasica\u00a0|\u00a0+34 676\u00a030 28 82\u00a0<\/strong><\/h5>\n
\n <\/p>\n
AND NOW THE FLOOR IS FOR:\u00a0<\/span><\/strong>
\nSOFIA LABROPOULOU, ABOUT\u00a0THE SERIES OF CONCERTS AND WORKSHOPS “UNBOUNDED SOUNDS”<\/span><\/strong><\/h3>\nI first met Sofia Labropoulou in Belgrade, on the occasion of the festival Todo Mundo, in September 2021. I was already familiar with her work through the album\u00a0Sisyphus<\/em>.\u00a0And we’ve stayed in touch ever since. A few months ago, she announced her new project:\u00a0Unbounded Sounds<\/em>. This is the main focus of our interview this time.<\/span><\/p>\n~ While you read the interview, you can enjoy listening the album\u00a0Sisyphus<\/em>,\u00a0here<\/a>\u00a0<\/strong>\ud83c\udfb6~<\/strong><\/span><\/p>\n<\/span><\/strong>As explained on the press release,\u00a0“Unbounded Sounds is a music series created by the kanun virtuoso, improviser and composer Sofia Labropoulou. Debuting in 2025 at the Sargfabrik Kulturhaus, this series invites audiences to experience a unique blend of folk traditions, contemporary innovation, and Vienna\u2019s rich music diversity.
\nThe inaugural edition features a series of five unique concerts, each showcasing a two-part format. In the first part,\u00a0Sofia Labropoulou collaborates with an internationally acclaimed artist in a duet, exploring musical influences from\u00a0folk, jazz, experimental, and improvised music traditions. In the second part, a local Viennese artist joins to form a trio,\u00a0creating space for dialogue and unexpected musical connections.<\/em>“<\/span><\/p>\nThe program of concerts is:\u25ab\ufe0f15.03.25 Sokratis Sinopoulos (Lyra\/Istanbul Kemen\u00e7e), Sofia Labropoulou (Kanun) & Sarvin Hazin (Kamanche)<\/span>
\n\u25ab\ufe0f13.05.25 Efr\u00e9n L\u00f3pez (Oud), Sofia Labropoulou (Kanun) & Sakina Teyna (Voice)<\/span>
\n\u25ab\ufe0f09.10.25 Michel Godard (Serpent), Sofia Labropoulou (Kanun) & Tahereh Nourani (Flute, E-Bass, Objects)<\/span>
\n\u25ab\ufe0f06.11.25 Chris Jennings (Double-Bass), Sofia Labropoulou (Kanun) & Verena Zeiner (Piano)<\/span>
\n\u25ab\ufe0f04.12.25 Shabnam Parvaresh (Bass-Clarinet), Sofia Labropoulou (Kanun) & Matthias Loibner (Hurdy-Gurdy)<\/span><\/p>\nOn\u00a0the website<\/a><\/strong>\u00a0you can find many more details. And in\u00a0this link<\/a>\u00a0you have the press kit.\u00a0Sofia shares some additional reflections with us in this interview.<\/p>\nAraceli Tzigane: How did the idea initially come about?<\/strong><\/span>Sofia Labropoulou:\u00a0<\/strong>The idea for\u00a0Unbounded Sounds<\/em>\u00a0grew out of a long-standing desire to create a space where musicians from different traditions, genres, and backgrounds could meet\u2014not to define, compare, or fuse\u2014but simply to\u00a0listen\u00a0<\/em>to each other and to share sound, freely and openly.\u00a0<\/span><\/p>\nThis\u00a0portrait of Sofia is by Vegeldaniel.<\/span><\/p>\n\nAfter 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\u2014sometimes in harmony, sometimes in tension. What is \u201cold,\u201d what is \u201cnew\u201d? These are questions I don\u2019t try to answer definitively. I prefer to leave them open. For me, the focus is the Sound itself\u2014and how we can become one\u00a0with\u00a0<\/em>it or\u00a0through\u00a0<\/em>it.<\/span>I invite musicians I admire deeply\u2014artists whose sound, presence, and approach to music move me. This personal connection is at the heart of\u00a0Unbounded Sounds<\/em>.<\/p>\nA 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\u2019m 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\u2014to learn, to listen, to feel and become part of their experience.<\/p>\n
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.<\/p>\n
AT: I imagine it\u2019s quite a lot of work to organize all of this, and I haven\u2019t seen any sponsor logos, so I assume that the project\u2019s 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?<\/strong><\/span><\/p>\nSL:\u00a0<\/strong>Yes, you’re absolutely right\u2014there 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\u2019s another challenge in itself: to move between these two roles while staying connected to the core of the music.<\/span><\/p>\nAt this stage, the series\u2014both the concerts and the workshops\u2014is 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\u2019s 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\u2014and 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.<\/p>\n
Of course, the financial side is a reality, but the deeper motivation goes far beyond that. It\u2019s 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.<\/p>\n
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\u2014to show how much beauty can emerge when we are willing to meet each other without preconceptions, with curiosity and openness.<\/p>\n
AT: What requirements do participants in the workshops have to meet? Do they need to know music and play an instrument?<\/strong><\/span><\/p>\nSL:\u00a0<\/strong>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\u2019s by no means essential. What truly matters is openness, curiosity, and a willingness to listen, explore, and engage with others.\u2028One can participate actively or as an observer.<\/span><\/p>\nEach workshop reflects the unique artistic identity of the guest musician. They\u2019re not designed as technical masterclasses at least at this first edition, but rather as hands-on explorations of musical ideas.<\/span><\/p>\nFor 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.<\/p>\n
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?<\/strong><\/span><\/p>\nSL:\u00a0<\/strong>Each collaboration brings its own unique set of challenges and opportunities. In projects like this, you don\u2019t always have the luxury of extended rehearsal time\u2014especially when resources are limited. To be honest, I would love it if in the future editions each concert could be preceded by a 5\u20136-day residency. That would open up so many creative possibilities. But that\u2019s a completely different financial reality.<\/span><\/p>\nSome of us already share a musical language or history; others are meeting on stage for the first time. There\u2019s 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\u2014for risk-taking, for that fragile, powerful moment where something unexpected can emerge.<\/p>\n
That\u2019s part of what makes this series so alive and exciting. Improvisation is the thread that connects all the artists involved\u2014whether 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.<\/p>\n
Every concert has a completely different nature and way it is being formed depends entirely on common decisions.<\/p>\n
AT: Do you plan to repeat it in 2026?\u00a0<\/strong><\/span><\/p>\nSL:\u00a0<\/strong>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\u2014something that can grow over time, evolve, and respond to the artists and audiences it brings together.<\/span><\/p>\nOf course, whether it continues depends largely on funding and support. But even now, after the first concert, I can already feel that there\u2019s a real interest, a need, and a space for this kind of initiative.<\/p>\n
I\u2019ll be in a better position to answer this question more concretely around October though\u2014but the desire is very much there.<\/p>\n
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?<\/strong><\/span><\/p>\nSL:\u00a0<\/strong>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 (\u00a0y-vergo.com<\/a>), and we put a lot of care into making the press materials accessible, clear, and well-organized.<\/span><\/p>\nSince I currently handle most aspects of the series myself, it was important to have everything in one obvious, easy-to-navigate place\u2014to make it as effortless as possible for anyone who wants to share or support the initiative.<\/p>\n
That said, I\u2019m definitely not doing this alone. I want to thank Sotiris Bekas, for his unwavering support. He\u2019s responsible for all the visual material\u2014videos, teasers, documentation\u2014which is another crucial part of\u00a0Unbounded Sounds<\/em>. Capturing and sharing the process is really important for us.<\/p>\nFor interviews with the artists or any media inquiries, I can be contacted directly via the contact form on the website:\u00a0www.unboundedsounds.com<\/a>, or by email at contact@unboundedsounds.com.<\/p>\nAT: If you\u2019d like to share any other thoughts, please feel free.<\/strong><\/span><\/p>\nSL:\u00a0<\/strong>I don\u2019t know if it\u2019s about gratitude.
\nWhat I know is: those beautiful artists said yes. I hope that they did because something in the silence before the music called them. That\u2019s rare. And I don\u2019t take it lightly.
\nUnbounded 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\u2019t explain.<\/span><\/p>\nThe second concert and workshop of\u00a0Unbounded Sounds\u00a0<\/em>will take place on May 13 and 14. Our guest artist from abroad is the brilliant Efr\u00e9n L\u00f3pez. We will perform together in the first set, and in the second set, we\u2019ll be joined by the wonderful singer Sakina Teyna.<\/p>\n<\/div>\n
\u00b7 Open calls: Afro Pepites, Premio Andrea Parodi<\/span><\/h5>\n\u00b7 Meet me at \u2708\ufe0f<\/span><\/h5>\n
\n <\/p>\n
<\/p>\n
\u27a1\ufe0f This is the link for subscription<\/a><\/h1>\n\nHello, <\/strong>how are you?<\/strong><\/p>\nI am well and I hope you’re well too. Since the last edition, I\u2019ve attended the MUM fair<\/a>\u00a0(Professional Music Days in Extremadura), which I\u2019ve mentioned on previous occasions. The photo (by Juan Antonio V\u00e1zquez) is from my talk, where I presented a list of ten key ideas for developing a music career, which I shared with Juanlu Gonz\u00e1lez, as part of this fair and conference that celebrated its ninth edition this year.<\/p>\nMore recently, I went to Budapest Ritmo for the first time. In the second picture I am with S\u00e1ndor Cso\u00f3ri, who performed as a guest artist with the band Mord\u00e1i. 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<\/a>\u00a0and listen to their latest album. I love\u00a0especially the first piece, sung by S\u00e1ndor.<\/p>\nI attended RItmo\u00a0on the occasion of the concert by Ali Do\u011fan G\u00f6n\u00fclta\u015f, which was on Friday the 11th, in a venue so packed that security had to restrict access.\u00a0It 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\u00a0How Music Dies (or Lives): De-colonizing international music<\/em>, 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\u2014each from their own perspective\u2014in this field.<\/p>\nI was also glad to meet professionals from countries that aren\u2019t usually so present at international events, such as Albania, Georgia or Romania.<\/p>\n
Updates on the latest edition and some good news<\/strong><\/p>\nIn the previous edition I explained that “On the 18th, I received an email from Zone Franche with a press release titled\u00a0Update: Artists without visas<\/em>, which you can read in full\u00a0here<\/a>.” This press release talked about the cultural cooperation program SAWA SAWA, funded by the Institut Fran\u00e7ais, 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.\u00a0Their statement urged the French government to approve the visas and uphold the free movement of artists as a fundamental part of cultural exchange.<\/p>\nWell, at the beginning of April I learnt from S\u00e9bastien Laussel, director of Zone Franche, that the press release had its effect and both artists have been granted their visas. Great news indeed!<\/p>\n
Related to\u00a0my participation on the panel “The new narratives for traditional music in the face of current political challenges” at Babel Music XP\u00a0<\/strong><\/p>\nOur 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\u00a0Unbounded Sounds<\/em>. 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.<\/p>\nIs Sofia making a “new narrative”?\u00a0I don\u2019t think that\u2019s her goal, but naturally\u2014almost as a normal step in her artistic path\u2014she\u2019s helping shape a new one.<\/p>\n<\/div>\n
I hope you will enjoy these contents. Thank you for your attention.<\/p>\n
<\/div>\n
\nRemember: if you have any news of interest for our community, let me know. Thank you very much for your attention.
\n<\/strong>Araceli Tzigane | Mapamundi M\u00fasica\u00a0|\u00a0+34 676\u00a030 28 82\u00a0<\/strong><\/h5>\n
\n <\/p>\n
AND NOW THE FLOOR IS FOR:\u00a0<\/span><\/strong>
\nSOFIA LABROPOULOU, ABOUT\u00a0THE SERIES OF CONCERTS AND WORKSHOPS “UNBOUNDED SOUNDS”<\/span><\/strong><\/h3>\nI first met Sofia Labropoulou in Belgrade, on the occasion of the festival Todo Mundo, in September 2021. I was already familiar with her work through the album\u00a0Sisyphus<\/em>.\u00a0And we’ve stayed in touch ever since. A few months ago, she announced her new project:\u00a0Unbounded Sounds<\/em>. This is the main focus of our interview this time.<\/span><\/p>\n~ While you read the interview, you can enjoy listening the album\u00a0Sisyphus<\/em>,\u00a0here<\/a>\u00a0<\/strong>\ud83c\udfb6~<\/strong><\/span><\/p>\n<\/span><\/strong>As explained on the press release,\u00a0“Unbounded Sounds is a music series created by the kanun virtuoso, improviser and composer Sofia Labropoulou. Debuting in 2025 at the Sargfabrik Kulturhaus, this series invites audiences to experience a unique blend of folk traditions, contemporary innovation, and Vienna\u2019s rich music diversity.
\nThe inaugural edition features a series of five unique concerts, each showcasing a two-part format. In the first part,\u00a0Sofia Labropoulou collaborates with an internationally acclaimed artist in a duet, exploring musical influences from\u00a0folk, jazz, experimental, and improvised music traditions. In the second part, a local Viennese artist joins to form a trio,\u00a0creating space for dialogue and unexpected musical connections.<\/em>“<\/span><\/p>\nThe program of concerts is:\u25ab\ufe0f15.03.25 Sokratis Sinopoulos (Lyra\/Istanbul Kemen\u00e7e), Sofia Labropoulou (Kanun) & Sarvin Hazin (Kamanche)<\/span>
\n\u25ab\ufe0f13.05.25 Efr\u00e9n L\u00f3pez (Oud), Sofia Labropoulou (Kanun) & Sakina Teyna (Voice)<\/span>
\n\u25ab\ufe0f09.10.25 Michel Godard (Serpent), Sofia Labropoulou (Kanun) & Tahereh Nourani (Flute, E-Bass, Objects)<\/span>
\n\u25ab\ufe0f06.11.25 Chris Jennings (Double-Bass), Sofia Labropoulou (Kanun) & Verena Zeiner (Piano)<\/span>
\n\u25ab\ufe0f04.12.25 Shabnam Parvaresh (Bass-Clarinet), Sofia Labropoulou (Kanun) & Matthias Loibner (Hurdy-Gurdy)<\/span><\/p>\nOn\u00a0the website<\/a><\/strong>\u00a0you can find many more details. And in\u00a0this link<\/a>\u00a0you have the press kit.\u00a0Sofia shares some additional reflections with us in this interview.<\/p>\nAraceli Tzigane: How did the idea initially come about?<\/strong><\/span>Sofia Labropoulou:\u00a0<\/strong>The idea for\u00a0Unbounded Sounds<\/em>\u00a0grew out of a long-standing desire to create a space where musicians from different traditions, genres, and backgrounds could meet\u2014not to define, compare, or fuse\u2014but simply to\u00a0listen\u00a0<\/em>to each other and to share sound, freely and openly.\u00a0<\/span><\/p>\nThis\u00a0portrait of Sofia is by Vegeldaniel.<\/span><\/p>\n\nAfter 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\u2014sometimes in harmony, sometimes in tension. What is \u201cold,\u201d what is \u201cnew\u201d? These are questions I don\u2019t try to answer definitively. I prefer to leave them open. For me, the focus is the Sound itself\u2014and how we can become one\u00a0with\u00a0<\/em>it or\u00a0through\u00a0<\/em>it.<\/span>I invite musicians I admire deeply\u2014artists whose sound, presence, and approach to music move me. This personal connection is at the heart of\u00a0Unbounded Sounds<\/em>.<\/p>\nA 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\u2019m 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\u2014to learn, to listen, to feel and become part of their experience.<\/p>\n
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.<\/p>\n
AT: I imagine it\u2019s quite a lot of work to organize all of this, and I haven\u2019t seen any sponsor logos, so I assume that the project\u2019s 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?<\/strong><\/span><\/p>\nSL:\u00a0<\/strong>Yes, you’re absolutely right\u2014there 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\u2019s another challenge in itself: to move between these two roles while staying connected to the core of the music.<\/span><\/p>\nAt this stage, the series\u2014both the concerts and the workshops\u2014is 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\u2019s 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\u2014and 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.<\/p>\n
Of course, the financial side is a reality, but the deeper motivation goes far beyond that. It\u2019s 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.<\/p>\n
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\u2014to show how much beauty can emerge when we are willing to meet each other without preconceptions, with curiosity and openness.<\/p>\n
AT: What requirements do participants in the workshops have to meet? Do they need to know music and play an instrument?<\/strong><\/span><\/p>\nSL:\u00a0<\/strong>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\u2019s by no means essential. What truly matters is openness, curiosity, and a willingness to listen, explore, and engage with others.\u2028One can participate actively or as an observer.<\/span><\/p>\nEach workshop reflects the unique artistic identity of the guest musician. They\u2019re not designed as technical masterclasses at least at this first edition, but rather as hands-on explorations of musical ideas.<\/span><\/p>\nFor 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.<\/p>\n
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?<\/strong><\/span><\/p>\nSL:\u00a0<\/strong>Each collaboration brings its own unique set of challenges and opportunities. In projects like this, you don\u2019t always have the luxury of extended rehearsal time\u2014especially when resources are limited. To be honest, I would love it if in the future editions each concert could be preceded by a 5\u20136-day residency. That would open up so many creative possibilities. But that\u2019s a completely different financial reality.<\/span><\/p>\nSome of us already share a musical language or history; others are meeting on stage for the first time. There\u2019s 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\u2014for risk-taking, for that fragile, powerful moment where something unexpected can emerge.<\/p>\n
That\u2019s part of what makes this series so alive and exciting. Improvisation is the thread that connects all the artists involved\u2014whether 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.<\/p>\n
Every concert has a completely different nature and way it is being formed depends entirely on common decisions.<\/p>\n
AT: Do you plan to repeat it in 2026?\u00a0<\/strong><\/span><\/p>\nSL:\u00a0<\/strong>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\u2014something that can grow over time, evolve, and respond to the artists and audiences it brings together.<\/span><\/p>\nOf course, whether it continues depends largely on funding and support. But even now, after the first concert, I can already feel that there\u2019s a real interest, a need, and a space for this kind of initiative.<\/p>\n
I\u2019ll be in a better position to answer this question more concretely around October though\u2014but the desire is very much there.<\/p>\n
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?<\/strong><\/span><\/p>\nSL:\u00a0<\/strong>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 (\u00a0y-vergo.com<\/a>), and we put a lot of care into making the press materials accessible, clear, and well-organized.<\/span><\/p>\nSince I currently handle most aspects of the series myself, it was important to have everything in one obvious, easy-to-navigate place\u2014to make it as effortless as possible for anyone who wants to share or support the initiative.<\/p>\n
That said, I\u2019m definitely not doing this alone. I want to thank Sotiris Bekas, for his unwavering support. He\u2019s responsible for all the visual material\u2014videos, teasers, documentation\u2014which is another crucial part of\u00a0Unbounded Sounds<\/em>. Capturing and sharing the process is really important for us.<\/p>\nFor interviews with the artists or any media inquiries, I can be contacted directly via the contact form on the website:\u00a0www.unboundedsounds.com<\/a>, or by email at contact@unboundedsounds.com.<\/p>\nAT: If you\u2019d like to share any other thoughts, please feel free.<\/strong><\/span><\/p>\nSL:\u00a0<\/strong>I don\u2019t know if it\u2019s about gratitude.
\nWhat I know is: those beautiful artists said yes. I hope that they did because something in the silence before the music called them. That\u2019s rare. And I don\u2019t take it lightly.
\nUnbounded 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\u2019t explain.<\/span><\/p>\nThe second concert and workshop of\u00a0Unbounded Sounds\u00a0<\/em>will take place on May 13 and 14. Our guest artist from abroad is the brilliant Efr\u00e9n L\u00f3pez. We will perform together in the first set, and in the second set, we\u2019ll be joined by the wonderful singer Sakina Teyna.<\/p>\n<\/div>\n
\n
<\/p>\n
<\/p>\n
\u27a1\ufe0f This is the link for subscription<\/a><\/h1>\n\nHello, <\/strong>how are you?<\/strong><\/p>\nI am well and I hope you’re well too. Since the last edition, I\u2019ve attended the MUM fair<\/a>\u00a0(Professional Music Days in Extremadura), which I\u2019ve mentioned on previous occasions. The photo (by Juan Antonio V\u00e1zquez) is from my talk, where I presented a list of ten key ideas for developing a music career, which I shared with Juanlu Gonz\u00e1lez, as part of this fair and conference that celebrated its ninth edition this year.<\/p>\nMore recently, I went to Budapest Ritmo for the first time. In the second picture I am with S\u00e1ndor Cso\u00f3ri, who performed as a guest artist with the band Mord\u00e1i. 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<\/a>\u00a0and listen to their latest album. I love\u00a0especially the first piece, sung by S\u00e1ndor.<\/p>\nI attended RItmo\u00a0on the occasion of the concert by Ali Do\u011fan G\u00f6n\u00fclta\u015f, which was on Friday the 11th, in a venue so packed that security had to restrict access.\u00a0It 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\u00a0How Music Dies (or Lives): De-colonizing international music<\/em>, 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\u2014each from their own perspective\u2014in this field.<\/p>\nI was also glad to meet professionals from countries that aren\u2019t usually so present at international events, such as Albania, Georgia or Romania.<\/p>\n
Updates on the latest edition and some good news<\/strong><\/p>\nIn the previous edition I explained that “On the 18th, I received an email from Zone Franche with a press release titled\u00a0Update: Artists without visas<\/em>, which you can read in full\u00a0here<\/a>.” This press release talked about the cultural cooperation program SAWA SAWA, funded by the Institut Fran\u00e7ais, 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.\u00a0Their statement urged the French government to approve the visas and uphold the free movement of artists as a fundamental part of cultural exchange.<\/p>\nWell, at the beginning of April I learnt from S\u00e9bastien Laussel, director of Zone Franche, that the press release had its effect and both artists have been granted their visas. Great news indeed!<\/p>\n
Related to\u00a0my participation on the panel “The new narratives for traditional music in the face of current political challenges” at Babel Music XP\u00a0<\/strong><\/p>\nOur 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\u00a0Unbounded Sounds<\/em>. 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.<\/p>\nIs Sofia making a “new narrative”?\u00a0I don\u2019t think that\u2019s her goal, but naturally\u2014almost as a normal step in her artistic path\u2014she\u2019s helping shape a new one.<\/p>\n<\/div>\n
I hope you will enjoy these contents. Thank you for your attention.<\/p>\n
<\/div>\n
\nRemember: if you have any news of interest for our community, let me know. Thank you very much for your attention.
\n<\/strong>Araceli Tzigane | Mapamundi M\u00fasica\u00a0|\u00a0+34 676\u00a030 28 82\u00a0<\/strong><\/h5>\n
\n <\/p>\n
AND NOW THE FLOOR IS FOR:\u00a0<\/span><\/strong>
\nSOFIA LABROPOULOU, ABOUT\u00a0THE SERIES OF CONCERTS AND WORKSHOPS “UNBOUNDED SOUNDS”<\/span><\/strong><\/h3>\nI first met Sofia Labropoulou in Belgrade, on the occasion of the festival Todo Mundo, in September 2021. I was already familiar with her work through the album\u00a0Sisyphus<\/em>.\u00a0And we’ve stayed in touch ever since. A few months ago, she announced her new project:\u00a0Unbounded Sounds<\/em>. This is the main focus of our interview this time.<\/span><\/p>\n~ While you read the interview, you can enjoy listening the album\u00a0Sisyphus<\/em>,\u00a0here<\/a>\u00a0<\/strong>\ud83c\udfb6~<\/strong><\/span><\/p>\n<\/span><\/strong>As explained on the press release,\u00a0“Unbounded Sounds is a music series created by the kanun virtuoso, improviser and composer Sofia Labropoulou. Debuting in 2025 at the Sargfabrik Kulturhaus, this series invites audiences to experience a unique blend of folk traditions, contemporary innovation, and Vienna\u2019s rich music diversity.
\nThe inaugural edition features a series of five unique concerts, each showcasing a two-part format. In the first part,\u00a0Sofia Labropoulou collaborates with an internationally acclaimed artist in a duet, exploring musical influences from\u00a0folk, jazz, experimental, and improvised music traditions. In the second part, a local Viennese artist joins to form a trio,\u00a0creating space for dialogue and unexpected musical connections.<\/em>“<\/span><\/p>\nThe program of concerts is:\u25ab\ufe0f15.03.25 Sokratis Sinopoulos (Lyra\/Istanbul Kemen\u00e7e), Sofia Labropoulou (Kanun) & Sarvin Hazin (Kamanche)<\/span>
\n\u25ab\ufe0f13.05.25 Efr\u00e9n L\u00f3pez (Oud), Sofia Labropoulou (Kanun) & Sakina Teyna (Voice)<\/span>
\n\u25ab\ufe0f09.10.25 Michel Godard (Serpent), Sofia Labropoulou (Kanun) & Tahereh Nourani (Flute, E-Bass, Objects)<\/span>
\n\u25ab\ufe0f06.11.25 Chris Jennings (Double-Bass), Sofia Labropoulou (Kanun) & Verena Zeiner (Piano)<\/span>
\n\u25ab\ufe0f04.12.25 Shabnam Parvaresh (Bass-Clarinet), Sofia Labropoulou (Kanun) & Matthias Loibner (Hurdy-Gurdy)<\/span><\/p>\nOn\u00a0the website<\/a><\/strong>\u00a0you can find many more details. And in\u00a0this link<\/a>\u00a0you have the press kit.\u00a0Sofia shares some additional reflections with us in this interview.<\/p>\nAraceli Tzigane: How did the idea initially come about?<\/strong><\/span>Sofia Labropoulou:\u00a0<\/strong>The idea for\u00a0Unbounded Sounds<\/em>\u00a0grew out of a long-standing desire to create a space where musicians from different traditions, genres, and backgrounds could meet\u2014not to define, compare, or fuse\u2014but simply to\u00a0listen\u00a0<\/em>to each other and to share sound, freely and openly.\u00a0<\/span><\/p>\nThis\u00a0portrait of Sofia is by Vegeldaniel.<\/span><\/p>\n\nAfter 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\u2014sometimes in harmony, sometimes in tension. What is \u201cold,\u201d what is \u201cnew\u201d? These are questions I don\u2019t try to answer definitively. I prefer to leave them open. For me, the focus is the Sound itself\u2014and how we can become one\u00a0with\u00a0<\/em>it or\u00a0through\u00a0<\/em>it.<\/span>I invite musicians I admire deeply\u2014artists whose sound, presence, and approach to music move me. This personal connection is at the heart of\u00a0Unbounded Sounds<\/em>.<\/p>\nA 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\u2019m 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\u2014to learn, to listen, to feel and become part of their experience.<\/p>\n
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.<\/p>\n
AT: I imagine it\u2019s quite a lot of work to organize all of this, and I haven\u2019t seen any sponsor logos, so I assume that the project\u2019s 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?<\/strong><\/span><\/p>\nSL:\u00a0<\/strong>Yes, you’re absolutely right\u2014there 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\u2019s another challenge in itself: to move between these two roles while staying connected to the core of the music.<\/span><\/p>\nAt this stage, the series\u2014both the concerts and the workshops\u2014is 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\u2019s 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\u2014and 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.<\/p>\n
Of course, the financial side is a reality, but the deeper motivation goes far beyond that. It\u2019s 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.<\/p>\n
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\u2014to show how much beauty can emerge when we are willing to meet each other without preconceptions, with curiosity and openness.<\/p>\n
AT: What requirements do participants in the workshops have to meet? Do they need to know music and play an instrument?<\/strong><\/span><\/p>\nSL:\u00a0<\/strong>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\u2019s by no means essential. What truly matters is openness, curiosity, and a willingness to listen, explore, and engage with others.\u2028One can participate actively or as an observer.<\/span><\/p>\nEach workshop reflects the unique artistic identity of the guest musician. They\u2019re not designed as technical masterclasses at least at this first edition, but rather as hands-on explorations of musical ideas.<\/span><\/p>\nFor 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.<\/p>\n
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?<\/strong><\/span><\/p>\nSL:\u00a0<\/strong>Each collaboration brings its own unique set of challenges and opportunities. In projects like this, you don\u2019t always have the luxury of extended rehearsal time\u2014especially when resources are limited. To be honest, I would love it if in the future editions each concert could be preceded by a 5\u20136-day residency. That would open up so many creative possibilities. But that\u2019s a completely different financial reality.<\/span><\/p>\nSome of us already share a musical language or history; others are meeting on stage for the first time. There\u2019s 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\u2014for risk-taking, for that fragile, powerful moment where something unexpected can emerge.<\/p>\n
That\u2019s part of what makes this series so alive and exciting. Improvisation is the thread that connects all the artists involved\u2014whether 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.<\/p>\n
Every concert has a completely different nature and way it is being formed depends entirely on common decisions.<\/p>\n
AT: Do you plan to repeat it in 2026?\u00a0<\/strong><\/span><\/p>\nSL:\u00a0<\/strong>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\u2014something that can grow over time, evolve, and respond to the artists and audiences it brings together.<\/span><\/p>\nOf course, whether it continues depends largely on funding and support. But even now, after the first concert, I can already feel that there\u2019s a real interest, a need, and a space for this kind of initiative.<\/p>\n
I\u2019ll be in a better position to answer this question more concretely around October though\u2014but the desire is very much there.<\/p>\n
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?<\/strong><\/span><\/p>\nSL:\u00a0<\/strong>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 (\u00a0y-vergo.com<\/a>), and we put a lot of care into making the press materials accessible, clear, and well-organized.<\/span><\/p>\nSince I currently handle most aspects of the series myself, it was important to have everything in one obvious, easy-to-navigate place\u2014to make it as effortless as possible for anyone who wants to share or support the initiative.<\/p>\n
That said, I\u2019m definitely not doing this alone. I want to thank Sotiris Bekas, for his unwavering support. He\u2019s responsible for all the visual material\u2014videos, teasers, documentation\u2014which is another crucial part of\u00a0Unbounded Sounds<\/em>. Capturing and sharing the process is really important for us.<\/p>\nFor interviews with the artists or any media inquiries, I can be contacted directly via the contact form on the website:\u00a0www.unboundedsounds.com<\/a>, or by email at contact@unboundedsounds.com.<\/p>\nAT: If you\u2019d like to share any other thoughts, please feel free.<\/strong><\/span><\/p>\nSL:\u00a0<\/strong>I don\u2019t know if it\u2019s about gratitude.
\nWhat I know is: those beautiful artists said yes. I hope that they did because something in the silence before the music called them. That\u2019s rare. And I don\u2019t take it lightly.
\nUnbounded 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\u2019t explain.<\/span><\/p>\nThe second concert and workshop of\u00a0Unbounded Sounds\u00a0<\/em>will take place on May 13 and 14. Our guest artist from abroad is the brilliant Efr\u00e9n L\u00f3pez. We will perform together in the first set, and in the second set, we\u2019ll be joined by the wonderful singer Sakina Teyna.<\/p>\n<\/div>\n
Hello, <\/strong>how are you?<\/strong><\/p>\n I am well and I hope you’re well too. Since the last edition, I\u2019ve attended the MUM fair<\/a>\u00a0(Professional Music Days in Extremadura), which I\u2019ve mentioned on previous occasions. The photo (by Juan Antonio V\u00e1zquez) is from my talk, where I presented a list of ten key ideas for developing a music career, which I shared with Juanlu Gonz\u00e1lez, as part of this fair and conference that celebrated its ninth edition this year.<\/p>\n More recently, I went to Budapest Ritmo for the first time. In the second picture I am with S\u00e1ndor Cso\u00f3ri, who performed as a guest artist with the band Mord\u00e1i. 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<\/a>\u00a0and listen to their latest album. I love\u00a0especially the first piece, sung by S\u00e1ndor.<\/p>\n I was also glad to meet professionals from countries that aren\u2019t usually so present at international events, such as Albania, Georgia or Romania.<\/p>\n Updates on the latest edition and some good news<\/strong><\/p>\n In the previous edition I explained that “On the 18th, I received an email from Zone Franche with a press release titled\u00a0Update: Artists without visas<\/em>, which you can read in full\u00a0here<\/a>.” This press release talked about the cultural cooperation program SAWA SAWA, funded by the Institut Fran\u00e7ais, 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.\u00a0Their statement urged the French government to approve the visas and uphold the free movement of artists as a fundamental part of cultural exchange.<\/p>\n Well, at the beginning of April I learnt from S\u00e9bastien Laussel, director of Zone Franche, that the press release had its effect and both artists have been granted their visas. Great news indeed!<\/p>\n Related to\u00a0my participation on the panel “The new narratives for traditional music in the face of current political challenges” at Babel Music XP\u00a0<\/strong><\/p>\n 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\u00a0Unbounded Sounds<\/em>. 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.<\/p>\n Is Sofia making a “new narrative”?\u00a0I don\u2019t think that\u2019s her goal, but naturally\u2014almost as a normal step in her artistic path\u2014she\u2019s helping shape a new one.<\/p>\n<\/div>\n I hope you will enjoy these contents. Thank you for your attention.<\/p>\n <\/p>\n I first met Sofia Labropoulou in Belgrade, on the occasion of the festival Todo Mundo, in September 2021. I was already familiar with her work through the album\u00a0Sisyphus<\/em>.\u00a0And we’ve stayed in touch ever since. A few months ago, she announced her new project:\u00a0Unbounded Sounds<\/em>. This is the main focus of our interview this time.<\/span><\/p>\n ~ While you read the interview, you can enjoy listening the album\u00a0Sisyphus<\/em>,\u00a0here<\/a>\u00a0<\/strong>\ud83c\udfb6~<\/strong><\/span><\/p>\n The program of concerts is:\u25ab\ufe0f15.03.25 Sokratis Sinopoulos (Lyra\/Istanbul Kemen\u00e7e), Sofia Labropoulou (Kanun) & Sarvin Hazin (Kamanche)<\/span> On\u00a0the website<\/a><\/strong>\u00a0you can find many more details. And in\u00a0this link<\/a>\u00a0you have the press kit.\u00a0Sofia shares some additional reflections with us in this interview.<\/p>\n Araceli Tzigane: How did the idea initially come about?<\/strong><\/span> This\u00a0portrait of Sofia is by Vegeldaniel.<\/span><\/p>\n 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\u2014sometimes in harmony, sometimes in tension. What is \u201cold,\u201d what is \u201cnew\u201d? These are questions I don\u2019t try to answer definitively. I prefer to leave them open. For me, the focus is the Sound itself\u2014and how we can become one\u00a0with\u00a0<\/em>it or\u00a0through\u00a0<\/em>it.<\/span>I invite musicians I admire deeply\u2014artists whose sound, presence, and approach to music move me. This personal connection is at the heart of\u00a0Unbounded Sounds<\/em>.<\/p>\n 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\u2019m 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\u2014to learn, to listen, to feel and become part of their experience.<\/p>\n 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.<\/p>\n AT: I imagine it\u2019s quite a lot of work to organize all of this, and I haven\u2019t seen any sponsor logos, so I assume that the project\u2019s 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?<\/strong><\/span><\/p>\n SL:\u00a0<\/strong>Yes, you’re absolutely right\u2014there 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\u2019s another challenge in itself: to move between these two roles while staying connected to the core of the music.<\/span><\/p>\n At this stage, the series\u2014both the concerts and the workshops\u2014is 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\u2019s 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\u2014and 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.<\/p>\n Of course, the financial side is a reality, but the deeper motivation goes far beyond that. It\u2019s 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.<\/p>\n 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\u2014to show how much beauty can emerge when we are willing to meet each other without preconceptions, with curiosity and openness.<\/p>\n SL:\u00a0<\/strong>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\u2019s by no means essential. What truly matters is openness, curiosity, and a willingness to listen, explore, and engage with others.\u2028One can participate actively or as an observer.<\/span><\/p>\n Each workshop reflects the unique artistic identity of the guest musician. They\u2019re not designed as technical masterclasses at least at this first edition, but rather as hands-on explorations of musical ideas.<\/span><\/p>\n 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.<\/p>\n 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?<\/strong><\/span><\/p>\n SL:\u00a0<\/strong>Each collaboration brings its own unique set of challenges and opportunities. In projects like this, you don\u2019t always have the luxury of extended rehearsal time\u2014especially when resources are limited. To be honest, I would love it if in the future editions each concert could be preceded by a 5\u20136-day residency. That would open up so many creative possibilities. But that\u2019s a completely different financial reality.<\/span><\/p>\n Some of us already share a musical language or history; others are meeting on stage for the first time. There\u2019s 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\u2014for risk-taking, for that fragile, powerful moment where something unexpected can emerge.<\/p>\n That\u2019s part of what makes this series so alive and exciting. Improvisation is the thread that connects all the artists involved\u2014whether 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.<\/p>\n Every concert has a completely different nature and way it is being formed depends entirely on common decisions.<\/p>\n AT: Do you plan to repeat it in 2026?\u00a0<\/strong><\/span><\/p>\n SL:\u00a0<\/strong>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\u2014something that can grow over time, evolve, and respond to the artists and audiences it brings together.<\/span><\/p>\n Of course, whether it continues depends largely on funding and support. But even now, after the first concert, I can already feel that there\u2019s a real interest, a need, and a space for this kind of initiative.<\/p>\n I\u2019ll be in a better position to answer this question more concretely around October though\u2014but the desire is very much there.<\/p>\n 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?<\/strong><\/span><\/p>\n SL:\u00a0<\/strong>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 (\u00a0y-vergo.com<\/a>), and we put a lot of care into making the press materials accessible, clear, and well-organized.<\/span><\/p>\n Since I currently handle most aspects of the series myself, it was important to have everything in one obvious, easy-to-navigate place\u2014to make it as effortless as possible for anyone who wants to share or support the initiative.<\/p>\n That said, I\u2019m definitely not doing this alone. I want to thank Sotiris Bekas, for his unwavering support. He\u2019s responsible for all the visual material\u2014videos, teasers, documentation\u2014which is another crucial part of\u00a0Unbounded Sounds<\/em>. Capturing and sharing the process is really important for us.<\/p>\n For interviews with the artists or any media inquiries, I can be contacted directly via the contact form on the website:\u00a0www.unboundedsounds.com<\/a>, or by email at contact@unboundedsounds.com.<\/p>\n AT: If you\u2019d like to share any other thoughts, please feel free.<\/strong><\/span><\/p>\n SL:\u00a0<\/strong>I don\u2019t know if it\u2019s about gratitude. The second concert and workshop of\u00a0Unbounded Sounds\u00a0<\/em>will take place on May 13 and 14. Our guest artist from abroad is the brilliant Efr\u00e9n L\u00f3pez. We will perform together in the first set, and in the second set, we\u2019ll be joined by the wonderful singer Sakina Teyna.<\/p>\n<\/div>\nI attended RItmo\u00a0on the occasion of the concert by Ali Do\u011fan G\u00f6n\u00fclta\u015f, which was on Friday the 11th, in a venue so packed that security had to restrict access.\u00a0It 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\u00a0How Music Dies (or Lives): De-colonizing international music<\/em>, 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\u2014each from their own perspective\u2014in this field.<\/p>\n
\nRemember: if you have any news of interest for our community, let me know. Thank you very much for your attention.
\n<\/strong>Araceli Tzigane | Mapamundi M\u00fasica\u00a0|\u00a0+34 676\u00a030 28 82\u00a0<\/strong><\/h5>\n
\nAND NOW THE FLOOR IS FOR:\u00a0<\/span><\/strong>
\nSOFIA LABROPOULOU, ABOUT\u00a0THE SERIES OF CONCERTS AND WORKSHOPS “UNBOUNDED SOUNDS”<\/span><\/strong><\/h3>\n<\/span><\/strong>As explained on the press release,\u00a0“Unbounded Sounds is a music series created by the kanun virtuoso, improviser and composer Sofia Labropoulou. Debuting in 2025 at the Sargfabrik Kulturhaus, this series invites audiences to experience a unique blend of folk traditions, contemporary innovation, and Vienna\u2019s rich music diversity.
\nThe inaugural edition features a series of five unique concerts, each showcasing a two-part format. In the first part,\u00a0Sofia Labropoulou collaborates with an internationally acclaimed artist in a duet, exploring musical influences from\u00a0folk, jazz, experimental, and improvised music traditions. In the second part, a local Viennese artist joins to form a trio,\u00a0creating space for dialogue and unexpected musical connections.<\/em>“<\/span><\/p>\n
\n\u25ab\ufe0f13.05.25 Efr\u00e9n L\u00f3pez (Oud), Sofia Labropoulou (Kanun) & Sakina Teyna (Voice)<\/span>
\n\u25ab\ufe0f09.10.25 Michel Godard (Serpent), Sofia Labropoulou (Kanun) & Tahereh Nourani (Flute, E-Bass, Objects)<\/span>
\n\u25ab\ufe0f06.11.25 Chris Jennings (Double-Bass), Sofia Labropoulou (Kanun) & Verena Zeiner (Piano)<\/span>
\n\u25ab\ufe0f04.12.25 Shabnam Parvaresh (Bass-Clarinet), Sofia Labropoulou (Kanun) & Matthias Loibner (Hurdy-Gurdy)<\/span><\/p>\nSofia Labropoulou:\u00a0<\/strong>The idea for\u00a0Unbounded Sounds<\/em>\u00a0grew out of a long-standing desire to create a space where musicians from different traditions, genres, and backgrounds could meet\u2014not to define, compare, or fuse\u2014but simply to\u00a0listen\u00a0<\/em>to each other and to share sound, freely and openly.\u00a0<\/span><\/p>\nAT: What requirements do participants in the workshops have to meet? Do they need to know music and play an instrument?<\/strong><\/span><\/p>\n
\nWhat I know is: those beautiful artists said yes. I hope that they did because something in the silence before the music called them. That\u2019s rare. And I don\u2019t take it lightly.
\nUnbounded 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\u2019t explain.<\/span><\/p>\n
![\"\"](\"https:\/\/mcusercontent.com\/993c677d53044839b1b39b2dc\/video_thumbnails_new\/6b6e631f835ad7b87a8966d903de5403.png\")
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<\/span><\/p>\n![](\"https:\/\/mcusercontent.com\/993c677d53044839b1b39b2dc\/images\/e032fb01-1481-4ae7-a53d-1b163dd4572c.jpg\")
<\/span><\/h1>\n![](\"https:\/\/mcusercontent.com\/993c677d53044839b1b39b2dc\/images\/0abf41be-3fef-2a06-6e59-42411fc54c65.jpg\")
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