Interviewed by Gabija Dubinskaitė

Piano Phase Project founded by pianists Monika Lozinskienė and Anna Szałucka (Poland/Great Britain) is a collaborative piano duo exploring new ways of connecting with classical music and showing it in interesting contexts. The international duo is celebrating 5th anniversary, and their artistic projects become more and more broad every year as they expand into the world of arrangement, film production, circus performance, electronic music and more.

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Your latest project, a film about Canadian nature, is quite unique. What inspired you to create it? And how did you connect with the right people?

A: Canada's breathtaking landscapes and rich cultural tapestry are fascinating, and we've decided to capture the essence of this vast and diverse country through the lens of our music. By combining it with the stunning visuals of the Sunshine Coast, British Columbia, we hoped to create a musical/visual experience that transcends geographical boundaries. That's how the art film Sound Meditation was born.

M: I first visited Canada two years after connecting with Bruce Devereux, our film producer. We got in touch at the beginning of my journey with the openARTed podcast which I'm now hosting regularly. During the 2022 trip, I also met the Japanese artist and painter, Makiko Kitama, who agreed to collaborate with us and provide us with amazing graphic designs as well as eight custom-made paintings inspired by Lithuanian composer M. K. Čiurlionis' symphonic poem In the Forest which you'll be able to see during the film premiere – in the Kaunas Cultural Centre on May 23rd and in the art studio ARTOTEKA in Vilnius on 25th.

Can you tell us more about the process of composing and selecting the music for the film? Were there any specific circumstances that influenced your choices?

A: We spent a significant amount of time curating and selecting music for the film. At the same time, we've recorded a complementing album, Sound Meditation, which will also be available for sale during the premieres.

M: We've focused on the music we love most and found most suitable for the evocative pictures of nature and community, which include composers such as Ravel, Debussy and Čiurlionis. We wanted the music to enhance the viewers' experience and create an emotional connection with the imagery on screen. That led us to an idea for Anna to write a music track Oxygen for the film, combining the sound of piano and ambient electronica.

What do you hope audiences will take away from watching your film?

A: Above all, we hope that viewers will gain a newfound appreciation for the beauty of Canadian nature and the diversity of its people. We've found a lot of connections with the landscape found in Gibson's Bay and the magic of Lithuanian lakes and forests. We hope these images will be particularly interesting for the audience in Kaunas and Vilnius.

M: We want to showcase the universal language of music and its ability to transcend cultural barriers. We hope the film inspires viewers to explore their own creativity and embark on their own artistic journeys, whether it's through music, film, or other forms of expression.

How do you see the intersection between classical music, perhaps music in general and the visual storytelling in this project?

M: Classical music has a timeless quality that lends itself well to visual storytelling. By pairing our piano performances with Bruce's stunning cinematography, we're able to create a multi-sensory experience that engages viewers on a deeper level.

A: We see the music and visuals as two parts of a greater whole, each enhancing the other. Our goal is to immerse the audience in the beauty of natural wonders and social connections. To achieve this effect, we carefully crafted the musical soundscape as a team, ensuring smooth connection and transition between shots.

As classical pianists, what challenges did you face in adapting your music for a film format?

A: One of the main challenges was ensuring that the pacing and mood of the music were aligned with the visuals on screen effortlessly, creating a coherent narrative. We had to carefully consider the timing of each piece but also its placement to create a seamless flow from one scene to the next. It was important for us to find the right blend of music and imagery to create a harmonious viewing experience.

M: Additionally, we had to strike a balance between showcasing the core of our work, which is music, and allowing the visuals to take over certain scenes. Sometimes it meant the piece couldn't be played in full and sometimes we had to accept little imperfections of music recorded live during our performances in Canada to show the most stunning pictures.

Can you share any memorable experiences from filming in Canada?

M: There were so many memorable experiences, it's hard to choose just a few! I particularly loved all the live performances and reconnecting with some lovely people I've met the previous year.

A: I also have fond memories of filming at the Oxygen trail. The sheer magnitude of the water inlets and the pristine beauty of the landscape left a lasting impression on me. It was fun to meet the creative souls living on the Sunshine Coast from musicians to film-makers.

How, if at all, do you think your film contributes to the dialogue surrounding environmental conservation?

M: By showcasing the natural beauty of Canada, we hope to inspire viewers to protect the treasure that nature is and reconnect with the natural environment around them.

A: Additionally, we wanted to highlight the interconnectedness of all living beings and the importance of preserving biodiversity. Our wish is that the film encourages viewers to reflect on their relationship with the natural world and take action to get closer to it on a daily basis.

What advice would you give to aspiring musicians who are interested in exploring interdisciplinary projects like yours?

A: My advice would be to embrace collaboration and be open to stepping outside of your comfort zone. Interdisciplinary projects offer a unique opportunity to explore new creative avenues and expand your artistic horizons, but they also require an open mind and accepting there's a lot we don't know, especially outside of our area of expertise.

M: It's also important to stay true to your artistic vision and trust your instincts. Don't be afraid to take risks and experiment with different mediums—it's often through these experiences that we grow as artists.

Lastly, what's next for you both? Are there any upcoming projects or collaborations on the horizon?

M: After the premiere in Kaunas and Vilnius, we will perform concerts in Lithuania and England for the rest of 2024. We also hope to premiere the Sound Meditation film in London which is currently planned for autumn this year.

A: At the beginning of 2025 we will embark on a tour through Scotland, where we will play eight concerts in different locations around the country. Can't wait!

Details about the film premiere