A word of explanation: I have just spent five days back in one of my favourite places for musical adventure, Cyprus. I have been the guest of the European University in Cyprus, and the Pharos Trust. My work with this extraordinary organisation, founded by the visionary Garo Keheyan, is core to my process as a musician. In recent years, I have had the chance to give many concerts, ranging from premieres to the complete cycle of Bach Sonatas and Partitas, in his wonderful ‘Shoe Factory’, which is an architectural marvel in the oldest district of Nikosia, both art gallery, perfect chamber concert venue, and home. So each time I come, I can stay in the wonderful roof top guest room, a glass marvel, over looked by spectacular palms, and with the roofs of both sides of this divided city below me. I am woken each morning by the muezzin of the nearest mosque, and on Sunday morning, the singing from the nearby orthodox church drifts into my eyrie at 8am.
The search for the perfect language; inspired by days exploring and improvising with Evis Sammoutis in the streets and workshops of Nikosia.
A curiously runic character on the walls of a tiny mosque, once a chapel, entirely constructed of reused Greek, Roman, and Lusignan capitals, gutters, and pediments, and a wall nearby.
And this reused Roman doorway, identical to one Malene Sheppard Skaerved and I found reused in a 17th century brick farmhouse in Kent, this summer.
And all around the sound of conversation, of traffic, of tools, hammering, sawing, scraping, and cars, and birds, and the wind in the trees. The starting point for Evis’ ‘Nikosia Concerto’-I have outed the working title
Lars Bagger-‘Anton is Sleeping’ Recording Outtake Peter Sheppard Skaerved-Violin (Stradivari 1698)