Myrtó Nizami: ‘I have learned a lot about myself and I am in a completely different place as a composer than where I started two years ago’
Myrtó Nizami: ‘I have learned a lot about myself and I am in a completely different place as a composer than where I started two years ago’
For two years, Myrtó Nizami was composer-in-residence at Festival Dag in de Branding. During the June edition, she presents her final work Prima Materia III, ‘The Last Mask’ at the Theater aan het Spui.
The end of your residency at Dag in de Branding is in sight, Myrtó! How does that feel?
“It was an incredibly intense journey—much more so than my master’s program at the Conservatory, to be honest. I’ve learned a lot about myself, and as a composer I’m in a completely different place now than I was two years ago. I’ve grown technically, of course, but I’ve also had to develop other skills, like leadership. I didn’t really anticipate that—I’m more of a group person by nature, but a team needs a leader. I find that fascinating: your personality apparently grows like a plant, depending on the light and space. You learn what you need to learn in a given context.”
That actually touches on the theme of Prima Materia, doesn’t it?
“Indeed, my work is about our ‘self’. Using a poem by Pessoa as a starting point, I pose the question of whether there really is a ‘self’ in us—whether identity is singular and indivisible, or whether we actually possess multiple identities. The way Pessoa uses the idea of the ‘mask’ is very musical. For him, it’s more about sound than meaning; he seeks ambiguity. I want to let that ambiguity remain. Like Pessoa, I don’t offer a solution.”
Do we hear music from your previous presentations in Dag in de Branding?
“Yes, absolutely. The work consists of three scenes, the first two of which were performed last March. The third and final scene is completely new. A few days ago, I sent the music to the musicians, and soon we’ll have our first workshop. In June, we’ll rehearse for a week. It’s very exciting, but I have a good feeling about it. We’ve been working together as a team for a year now, and such a long-term collaboration is not common in new music—unlike in a rock band, for example. That continuity brings stability, growth, and safety. It contributes to the maturity of our collaboration. Also, the experience of being both composer and director has given me a new perspective on creating. I’d love to explore that more in the future.”
Do you already have plans for what’s next?
“The past two years have been so intense—I’m going to take some time to rest first. Although I also have a major commission to work on: a piece for the ensemble MusikFabrik, for the Festival Présences in Paris next year.”
Congratulations!
“Thank you! The festival is dedicated to Georges Aperghis, the Greek-French composer. I greatly admire his work, and we’ve been in contact for a few years now. Yes, I’m very happy to be doing this. I feel very fortunate.”