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30-05-2022

Interview with Nikolaï Clavier

Sonolize is extremely proud to introduce the young Norwegian composer Nikolaï Clavier. Although Nikolaï is a young composer he has already composed music for 15  movies, 6 commercials and a video game. ‘On the side’ he is busy writing a ‘labour of love’ project arranging Bartok’s Mikrokosmos for symphony orchestra.  He has already won numerous awards, of which the Buma ‘New Talent Award’ - that he received with the soundtrack of ‘Blauwe Maandag’ - is one to be particularly proud of. And of course there is the composition for the international skating legend Niki Wories in the film ‘Ode to a sleeping city’ where she is skating on the frozen canals of Amsterdam. This composition went viral worldwide. 

Nikolai, you are a musician of all trades, how would you describe yourself?
Thank you for this kind introduction, I feel honored to be put in the spotlight by Sonolize. I’m a violist, a film composer and I love pizza.

How do you inspire yourself? Are the movies for which you write leading or are there particular people or things that inspire you?
When working with film scoring, it’s primarily the story that is the source of inspiration. I’ve talked to many composers and I think most of us find our inspiration above all in the process of working. It’s like that flow theory by Hungarian psychologist Mihaly Csikszentmihalyi, when you find the sweet spot between having a task that is manageable and also challenges you, you lose track of time and get carried away from the physical realm and into a state self-forgetfullness. That is also provided you can tame the self-criticizing voice in your head, which tends to be my main struggle. 

John Cleese also had some interesting theories about inspiration, and one that has been particularly helpful to me is that you need to create a space where it is safe to play. Creativity flourishes in certain environments, and blocking out distractions is a very important part of this. Listening to music is of course a very important source of inspiration, and I’m especially lucky because as a musician I don’t only get to listen to music very often, but I also get to work with it in detail and dive into it together with other musicians. 

It is obvious that you like Bartok’s music since you are working on his Mikrokosmos. What strikes you the most in his music?
As a violist, I guess my relationship to Bartók is shaped a lot by his viola concerto. I spent two years studying that piece and uncovering its many meanings during my first master. It’s a masterpiece, and also the last piece he ever wrote. 

The Mikrokosmos I first got introduced to, was when I listened to a live recording of Herbie Hancock and Chick Corea improvising over the famous no.146 Ostinato. It was a spectacular mix of jazz, neo-classicism and pure inspiration. There is something very intriguing about Bartok’s use of Hungarian rhythms, modality, polytonality and custom scale systems. 
Also because it was originally written for children as piano lessons, and to introduce music theory and composing techniques progressively. It’s a composer’s dream, especially when that composer also wants to improve his piano playing skills (like me). 

Can you tell us what a regular day looks like for you? Composing, playing the alto violin with the Arthema quartet and studying must require some organization. 
Most composers I meet share the same struggle as me, in managing to find time and structure. Especially when trying to balance a performing career with film scoring, arranging, composing and teaching. There are only so many hours in one day. Luckily, I managed to avoid total disaster by having my wife work as my assistant part time. She is, in contrast to me, a very structured, highly organized and balanced person. She helps me make realistic schedules and plans, and I’m very grateful for that. 

As far as daily routine goes, there is none. Every day is different, and every period has a new challenge. Sometimes I do lots of projects with my quartet, then I practice a lot on the viola, other times I have to spend night and day locked inside my studio to meet a deadline for a film or commercial. It’s a life that has very little safety and stability, but also never gets boring.

How do you start a new composition? 
When working for film, the boundaries are usually quite strict as it is. The film has very specific needs and requirements, and my job is to try to find the music that would ruin the movie the least. It’s a constant struggle of trial and error, but ultimately the music manages to catch up with whatever the film deserves. 

Starting a composition is always terrifying. Even Hans Zimmer claims that he is scared of that blank page, and admits even he has “imposter syndrome”. But I’m more of a conceptual composer than an intuitive composer, I like to start by building a concept before composing. That could be, choosing an instrumentation, a style or a certain sound, and exploring that through a set of experiments and tryouts, further narrowing down the options in the process. Too many options kills creativity, a framework is always a welcome friend.   

Do you have an opinion about the future of the landscape of publishers? 
Sonolize is meeting a very important need in the music market, especially now that more and more public and creative platforms are moving online. I think it’s much better than many of the competitors like sheetmusicplus and nkoda. Not only because it is stylish and very elegant, but also it provides the composers with a chance to promote their works. The function where you can add links to performances of the piece for example, is brilliant. 

There is also a much closer link between composer and customer, which allows for a more intimate relationship. I’d much rather recommend a musician to buy my music from Sonolize than a platform which is messy and anonymizes the composer. 


We thank Nikolaï for this interview and look forward to more works by this versatile young composer.

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