A glimpse into rehearsals for “Envelop” for six Sansulas.
Introduction
Whether composing film music, creating soundscapes for installations, or immersing listeners in an intense sonic experience, José Salgado’s passion for his projects is immediately apparent. The Portuguese-Swiss guitarist and composer, who lives and works between Zurich and Lisbon, has already made a name for himself as a founding member of the band Manteau, performing on renowned stages and at festivals throughout Portugal. Alongside touring with the band, he also pursues solo projects and a wide range of artistic collaborations.
As mentioned, his compositional work extends far beyond the stage: he writes music for film, documentary, art, and contemporary dance projects. Among his most recent works are the experimental animation Lights, Haze and the dance production “...e vi o céu,” which premiered in 2024 at Cineteatro Louletano. José Salgado is currently deepening his artistic practice through the Master’s program in “Composition for Film, Theatre and Media” at the Zurich University of the Arts (ZHdK).
It is no surprise that such a multifaceted artist was drawn to the small Hokema Sansula, which he enjoys using in his compositions.
José Salgado just worked on a new piece for six Sansula kalimbas titled “Envelop,” which was premiered in Zurich this May. At the same time, he was further developing the project for festival presentations in Switzerland and Portugal. The composition was currently being created specifically for the Sansula Basic model, with plans to later incorporate the Renaissance and Deluxe versions as well.
About your way into music….
My first discovery of music was through my dad’s huge collection of music. He used to go to a store to listen to and buy CDs every week. There was everything, from rock, classical, world music, and lounge chill-out. I went through them one by one, selecting which would enter my own (now digital) collection. This was about the same time that I discovered the guitar, through records of Jimi Hendrix.
When did you start playing instruments and what’s, in your opinion, the most fascinating thing about it or do you have a favorite instrument or artist who inspired you?
I started playing guitar at around 13 years old. What attracts me to the guitar is the infinite possibilities of expression, the amount of sounds you can get from it (classical guitar, acoustic, electric) the different energies you can emit: calm, anger, contentment, frustration. It is so versatile. I like to explore each sound in a simple and singular way. For example, rather than having 20 beautiful sounds layered on top of each other, I like to hear one, maybe two.
You are based between Zurich and Lisbon — how do these two cities influence your musical language and creative process?
Lisbon and Zurich are extremely distinct cities. Lisbon is very chaotic, whereas Zurich is impeccably clean and functional. In a way, my music sits between these cities. Part of me likes to create with a structure and clear objective in mind, while the other part simply wants to express whatever is true at a given moment, whether it fits or not.
A connection to nature is important to me for creation and for well-being in general. As a surfer, the ocean plays an important role in my life, and it is my anchor when I am in Lisbon. Simply knowing that the ocean is beside me is comforting, but best of all is being able to go for a surf, or a walk by the water. It is therapeutic. In Zurich, I do not (yet) have a strong connection to the lake, but I have felt a few times a similar (but very distinct) power of nature when simply looking at the alps in the distance. Being able to expand my mind from my own narrow point-of-view is very helpful creatively.
Questions about your work with the Sansula
When did you start working with the Sansula? What aroused your interest in this instrument?
I was planning a performance/installation where the audience would be surrounded by live musicians, all with the same instrument. I wanted to write music in the minimalist style, working with interlocking patterns.
Aesthetically, I like the Kalimba’s compact (small) form, and its connection to rituals and community environments, going back through the long history of lamellaphones. I also got inspired by the exhibition ‘Afrosonica’ at the Ethnographic Museum of Geneva, where I saw many old lamellaphones and their history, as well as an immersive piece using Mbiras (I assume) at the Museu Nacional da Música in Mafra, Portugal.
As a composer and musician, what draws you to more experimental or less conventional instruments like the Sansula?
What I love about the Sansula kalimba is that, for such a small instrument, the sound is so deep and rich. For my piece Envelop, the Sansula is an interesting instrument for me because it allows for the exploration of more subtle and specific aspects of music. In concrete, I mean that it limits certain aspects, like harmony and melody. It contains 9 notes (I consider octaves as distinct notes, and one of the tines ‘A’ is repeated) all of which are in A minor. With this limitation, I am free to focus on the rhythmical aspect of the piece, and on the use of the resonance capabilities of the Sansula by using the drum skin.
Your new work “Envelop” is written for six Sansula Kalimbas — what inspired you to create a piece centered around this instrument and can you describe the work with it?
Firstly, I love the sound of the Sansula. It is deep, rich and soothing. Secondly, I am inspired by the history that the instrument carries. Ideas of community, spirituality, ritual. My idea is to bring this into the audience’s awareness, even if not in an entirely conscious way. The format of the performance is six kalimba players in a circle facing inwards, the audience sitting on the floor between and around the musicians. This format invites the audience to forget the stage-audience and performer-audience dynamic and experience the piece in a more personal and relaxed way. It also makes the musicians more linked to each other visually, and part of a community for which they play. It is not a spectacle but a simple and curious moment to be shared.
Is there a special situation that happened when you played the Sansula or are there impressive moments with the people/crowd you have been working with?
I tried several kalimbas before landing on the Sansula. There was no special situation, but I remember the ‘Eureka’ moment of feeling that this instrument is simple yet with many possibilities of exploration, what I needed for this project.
Are you using the Sansula in private life – apart from composing and just for fun or meditation – as well?
Apart from the Envelop project, I am using the Sansula in the music for a contemporary dance piece ‘Polvo de Añil’ by Liliana Torres. I explore the kalimba with electronics, which has also been very interesting. Aside from this, not really, since it currently occupies a lot of my working life!
I also find it interesting to re-contextualize an instrument. Placing a kalimba as a main voice, like the violin or piano in Western music, is exciting for me.