Ut i mörka natten
Polska after Sven Donat
Nordic tradition with an explorer’s vision ::: FOLK – TRAD – ORCHESTRAL
World champion on nyckelharpa – Swedish Grammy nominee – American Grammy nominee – Norwegian Grammy winner – Nordic composer’s award NPU prize winner – Artist of the year at the Swedish Folk & World Music Awards – Riksspelman (Awarded “National Fiddler”)
Emilia Amper is one of Sweden’s most sought after folk musicians today. In her music, a deep knowledge and love for traditions meet an endless, open-minded exploration of the nyckelharpa’s possibilities. She composes music for nyckelharpa, vocals, strings and percussion (in her own Emilia Amper Band), has created arrangements for different folk/world music projects that she has been part of together with traditional musicians from all over the world, and has composed commissioned pieces for classical orchestras such as Västerås Sinfonietta, the Trondheim Soloists, Nidarosdomen’s girls choir and Camerata Nordica. She has performed all over Europe, in Iran, Namibia, India, the US, Canada, Brazil, China, Hongkong and The United Arab Emirates, solo and with different folk music groups, and as a soloist with classical orchestras.
She has two bachelors and one master degree in Swedish traditional folk music/nyckelharpa and composing, and since 2011 she has worked full time as a freelance nyckelharpa player, singer and composer.
“I was ten years old when I saw a nyckelharpa for the first time, and I immediately fell in love! After playing mostly traditional music from Sweden and other parts of the world in my teens, I performed as a folk music soloist with a chamber orchestra for the first time in my early 20’s. The experience totally blew me away! It inspired me to start composing and arranging myself for this kind of instrumentation, with the melodies and rhythms inspired by Nordic traditional music and with the string orchestra as my palette of wonderful sounds to colour it all with.
My stage can be everything from an old barn in the countryside when playing for traditional dancing in the middle of the Swedish summer night to a beautiful Sao Paolo concert hall decorated with shining dark wood and with waiters in white gloves and a backstage room (only for me) twice the size of my old flat, a cosy pub in Bretagne, a cool jazz club on Manhattan, a stormy platform outside a lighthouse in the very north of Norway, an opera house in Düsseldorf, the desert in Namibia or a big summer folk festival stage in Belgium. No matter where I go with my music, it’s the meetings that are in focus, the contact between musicians and with dancers or listeners. When you feel that contact, get into the groove, overbuild language or culture gaps… That’s what I live for!