-ADN: Mr. Tole, how did the idea for the symphony ALBANOI originate, and what does the title symbolize?

Vasil S. Tole: On May 9th, on Europe Day, at the University of Arts at 19.00 hrs, the premiere of my new work Symphony Albanoi is scheduled. This is a challenging piece for me, because as is well known, symphonies are works that require a great deal of commitment. In this case, the symphony is also symbolic, since the name Albanoi is the earliest mention in ancient writings of the settlement where Albanians lived, and this name later evolved into Albanians, Arbër, and finally the Shqiptarët of today. It is a generalization of the musical characteristics of the Albanian, over the years, reflecting the finest values created throughout his historical, cultural, and artistic heritage.

-What are the main themes represented in the four movements of the symphony?

-To arrive at the composition of ALBANOI (2 years of work, 45 minutes of music), I went through a long creative and formative journey, which I believe has provided me with the necessary experience to face a major work such as a symphony.

Aiming to create an authentic, contemporary work, I rely on the natural evolution of related musical techniques. The titles of the four movements (EPOS, ISO, PRE-CHORUS-DANCE, and REVELRY-FINALE) do not prescribe a specific program but serve as guideposts. In their quality as symbols, they bear additional pan-Albanian meanings that speak clearly to everyone, much like milestones that announce the progress one has made in their journey.

-How do you incorporate Albanian polyphony and traditional elements into a contemporary symphonic language?

-It is a process deeply connected to the roots of our national music, whose principles — both theoretical and practical — were laid out by our distinguished composer Çesk Zadeja. We possess a great wealth in our folk music, and it is entirely natural for our composers to be drawn toward it. I am no exception. In this symphony, which I refer to as a symphony of the musical traits of the Albanian, I have woven together everything of value that our musical folklore carries. In the second movement, titled ISO, I aimed to implement the texture of iso-polyphony, where the iso is performed by the string orchestra, while the solo voices of the marrës (leader), kthyes (responder), and hedhës (launcher) are interpreted respectively by solo bassoon, solo horn in F, and solo trumpet in B?. Of course, the musical language is constructed within a contemporary idiom, but what matters is that our folklore can also sustain and inspire a modern treatment within classical music.

-What is the significance of its world premiere taking place on Europe Day, May 9th?

-One might call it a purposeful coincidence. Europe Day serves as a reminder that we are an inseparable part of its cultural, geographic, linguistic, and broader identity — as reflected even in the 15th-century map known as Europa Regina. While political and economic integration takes time, we are already woven into the fabric of European art, culture, and heritage. It is a beautiful truth that the symphony — a quintessentially European creation — continues to thrive within contemporary Albanian music. The symphony ALBANOI stands as a living testament to this.

-How was your collaboration with conductor Eno Koço and the RTSH Symphony Orchestra?

-The symphony has four movements, and I have dedicated each of them to four individuals whose work has influenced me over time, in different places, and in various forms. By dedicating this music, I express my deepest respect for them!

Movement I – EPOS, dedicated to Ismail Kadare; Movement II – ISO, dedicated to Wolfgang Hufschmidt ; Movement III – KTHESA, dedicated to Eno Koço; Movement IV – HENG, dedicated to Çesk Zadeja.

The distinguished conductor Eno Koço holds a special place in my musical journey, as he was the first to bring one of my symphonic works to the stage back in 1990, at the very outset of my career. Since then, our collaboration has continued uninterrupted, marked by artistic trust and mutual respect. Our connection goes beyond music. Eno is the son of the celebrated Albanian soprano Tefta Tashko Koço, whose origins lie in Frashër, in the region of Përmet — a place I also proudly call home. This shared heritage has deepened our bond, both personally and artistically. In addition to being a conductor of great integrity, Eno is also a dedicated scholar with a deep interest in Albania’s classical and folk musical traditions. I remain profoundly grateful for his professionalism and treasured friendship.

-What kind of emotional or intellectual response do you hope the audience will have?

-Albania has a long-standing and vibrant tradition of music appreciation, particularly in the realm of symphonic, concert, and stage performances. This tradition has been shaped by the establishment and activity of Radio Tirana's Symphonic Orchestra in the late 1930s, as well as the creation of the National Theater of Opera and Ballet in 1956. Furthermore, Radio Tirana’s musical programs and the network of music schools across the country have played a vital role in nurturing public interest and participation in music.

It is with great confidence that we anticipate a warm reception for this concert, as the Albanian audience has always been a staunch supporter of the arts and culture, especially the work of creators in these fields.

-What role do you see for Albanian music on the wider European stage?

-Albanian music has made its presence felt on the European stage in various forms and at different levels. What stands out most are the performers, particularly those in the opera genre, including renowned artists such as Ermonela Jaho, Saimir Pirgu, Enkelejda Shkoza, Inva Mula, Eva Golemi, Josif Gjipali, Artur Vera, Klodian Kacani, and many others. In addition, Albania boasts a remarkable roster of instrumentalists who live and work across Europe, excelling in their craft. Notable names include Tedi Papavrami, Jonian Kadesha, Florian Vlashi, Kostandin Tashko, Krist Gjezi, Laura Llozi, Jonela Golemi, Dhurata Lazo, and others.

Moreover, Albanian composers have also made their mark on European stages. Artists such as Thomas Simaku and Endri Sina stand out not only through the interpretation of their works but also by winning prestigious European awards for their creativity and contributions to contemporary music.

-What future musical projects or directions are you currently exploring?

-I am continuously engaged in both artistic creation and scholarly work. Once I have something more concrete to share, we will be in touch again. Thank you for the interview. /ADN