Alma Subašić: «Building your own style within everything is by far the most important»
The Konjic-born artist has released Sevdah del Alma, a beautiful album full of elegance and classicism, in which she has counted on the participation of magnificent musicians, among whom are Damir Galijašević and Zanin Berbić, undisputed pieces, along with her, of Fondacija SEVDAH, an institution focused on the commendable work of recovering and spreading the beautiful art of sevdalinka. With this new recording, Alma Subašić pays tribute to greats of the genre and, in particular, to the unforgettable Emina Zečaj. In addition, the singer is radiant with excellent vocal registers, and takes a giant step on her way to becoming a true Lady of traditional Bosnian-Herzegovinian song.
«Everything is natural and sincere and there is no intention to forcefully modernize anything or leave it traditional at any cost»
«I prefer more intimate spaces for performances, which allow me better connection with the audience and the musicians»
«UNESCO declaring Sevdah as intangible cultural heritage would be a great thing for our country»
By César Campoy.
–The last time we chatted you were preparing this album, and we were talking about the dilemma between modernity and tradition. To what extent do you think this album combines both? Which of the two is more important, and to what extent was it premeditated or natural?
-Everything that we played and sang at that particular moment is a reflection of the current state of being. Everything is natural and sincere and there is no intention to forcefully modernize anything or leave it traditional at any cost. I think that’s the only way to create your own thing, without limiting yourself and giving yourself some labels. This is not my only and final sound, each new project will bring something new, I believe.
–Was the process of selecting songs for this Sevdah del Alma very complicated?
-Starting with thirty songs at the beginning, we chose ten songs. These are all songs that correspond primarily to my sensibility and what I wanted to sing. It wasn’t complicated; it was fun for us to choose the songs. It was important for me to choose some of the songs that can rarely be heard in the public space anymore. That’s why I decided to try to somehow “revive” them.
–The Spanish audience may find the title of the project curious. It is a play on words that, in our language, makes a lot of sense. Why did you decide to use Spanish?
-I have always been interested in the meaning of my name in Spanish. A few years ago, I said out loud:
«Sevdah from the soul» and thought that it was actually «Sevdah del alma» in Spanish. Of course, I thank you, César, for your help in choosing the final name, so that everything would make complete sense.
–Has it been difficult trying to explain this play on words to your audience in the region?
-Our people in Bosnia, especially the younger audience, are familiar with the Spanish language through media and most of them immediately understood the story and concept of the album and its name. The feedback is lovely so far, I must admit.
–Damir Galijašević arranged most of the songs, although I imagine you were involved in the process. What references did you have in mind, both from the golden era of Sevdah and from the last decades?
-Being respectful of the melodies and sound from before, but with our own experience of these songs, we spent time together creating this sound. I imagined myself on stage singing them and how I would like them to sound, what sensibility they need to have. The music solo parts were important to me, apart from the singing ones, so I immediately told Damir that I wanted to have longer interludes on some songs so that we could enjoy the music as well. I particularly liked the way in which Damir created solo music parts for Rosna livada, Poletjela dva goluba, Akšam geldi, Moj behare.
–Please, let’s look at each of the songs. Let’s start with Poletjela dva goluba. It’s not a song that has been recorded many times and, except for Himzo Polovina, it has been played mainly by women, such as Emina Zečaj or Beba Selimović. In addition, it has become the album’s calling card, thanks to a video clip and the participation of KUD Baščaršija. Tell me a little about its choice and its conception.
-When we made the arrangement and when I was recording it in the studio, I could literally see young girls playing kolo [Traditional collective dance very popular in southeastern Europe, especially in Serbia], tying embroidery, with whom I communicate and hang out on our stage, as if we’re preparing for the concert. I wanted them to be the girls from KUD Baščaršija because I have always been amazed by their work and presentation. This song is really feminine, in this very melodic version, and I found Emina Zečaj’s interpretation so sweet that I wanted to record it myself, because I could rarely ever hear that song anywhere at all.
–At the other extreme, we find the magnificent Omere, prvo gledanje, which always transports us to the universe of Himzo Polovina. This is a song that has been much sought after in recent times by people like Zanin Berbić, Sukrija Trako, Božo Vrećo, and also a female voice, that of Anja Rikalo, with Mostar Sevdah Reunion. With Zanin himself you have created a wonderful intimate atmosphere. Why did you decide, in this case, to travel to the purity that the voice-saz combination represents?
-Yes, it’s a complete opposite and it was intentional, those are all the colors of this album. I have always wanted to record sevdalinka with saz. When I listened to Himzo Polovina, and also Zanin’s performance, I had the harmony in my head and that intimate and almost mystical atmosphere. This song is the cry of the soul, which can be felt through its lyrics. That’s why I wanted the visual part to be so minimalistic and intimate, so that the focus would be on our performance and the most subtle emotions, without any distractions, just voice and music.
–Moj behare is another undisputed classic. I am struck by the fact that the musical accompaniment is very subtle and elegant.
-Thanks for those compliments; many people told me that it’s their favorite arrangement on the album. At the beginning of the song, my father’s [Mirsad Subašić] accordion plays. As someone from whom I first learned this song that we sang together countless times, I wanted it to be a part of this song, because my father’s accordion definitely marked my path. After that comes the orchestra, and finally the solo piano and then the orchestra again. Just like you said, subtle, elegant and warms the soul.
–Its ending has always seemed to me, for the singer, one of the most difficult of the most popular sevdalinkas. Is it a difficult challenge?
-The end of this song is definitely technically demanding, but I really liked how we made it sound. The text is emotional and so is the performance. I believe that each time performing it, I would sing it differently, depending on the mood, atmosphere and other factors.
–Rosna livada is a classic of typical Balkan polyphony. In fact, there are versions performed by musicians from almost all the Yugoslav peoples. Did you choose it thinking of that component of unification, of connection between all of them?
-This song definitely unites us all, and wherever we sing it, it will be recognized. I mostly listened to Zora Dubljević’s version and I loved it. Our version seems to have won the hearts of listeners. We will release a video for it soon that will also have its story.
–Neda Nikolić’s frula is fantastic. How did the collaboration come about?
-I met the wonderful artist Neda last year at a concert in Belgrade, and immediately we agreed that we will record something together. At that moment, the song was already recorded but I thought something was missing. Then I realized that Neda’s flute is the missing component. She recorded her part in Belgrade and sent us the recording, so we inserted her afterwards and it fit perfectly.
–I would like to take this opportunity to ask you about the role of Medina Turković, who accompanies you on the chorus in several of the songs on this album.
–Medina sang backing vocals on several songs. The colour of her voice and style as well as her technique certainly contributed to these songs to sound even better and complete.
–Akšam geldi is another of the gems on the album, based on a wonderful interpretation, fantastic arrangements and an exciting ending. It is another classic that Emina Zečaj nailed, although I think that in your version there is a lot of Himzo Polovina’s. Do you agree?
-The song is definitely inspired by Himzo’s version. His and Emina’s versions are wonderful. Damir made a really nice arrangement and introduced a rhythm ¾ that is in fact saz rhythm, so it is not typical for this song to have this kind of rhythm. We somehow felt that this is the energy that this song requires so the emphasis is on the voice, violin and clarinet.
–We mentioned Emina, and on your album we find several songs that the great Lady of Sevdah performed. Is she one of your references? What amazes you most about her style and philosophy?
–Emina Zečaj was amazing and her knowledge of so many songs is fascinating. She truly lived Sevdah with her whole being. That was her, and there is no pretence. That’s why it’s so authentic, and of course it’s our inspiration.
–Which female voices of Sevdah do you identify with the most?
-Women’s voices give sevdalinka a special longing and beauty, where we understand all the subtlest emotions to the end. For me, all voices have their own specific beauty and uniqueness. I would compare it to wood carving, for example. Everyone will make a woodcarving piece of furniture differently and everyone will make decorations at least a little differently, everyone has their own colour, style and experience. It’s the same with performers. Everyone is specific, special and different in their own way. That’s why it’s so hard to single out anyone. Building your own style within everything is by far the most important.
–In Kad puhnuše sabahzorski vjetrovi we return, once again, to the essence. Another song that great women of the genre such as Emina herself and Amira have nailed. On this occasion, you decided to add the beautiful violin of Ivana Ðurić to Zanin’s saz. What made you think of incorporating that element of the violin? What do you think it brings to it?
-This song got a special energy for me when it was played with Zanin’s great saz, his back vocal and Ivana’s emotional violin. I found that combination very interesting and I wanted to have that atmosphere on this song. We also chose the lyrics of the song that is rarely sung, with the difference in the last stanza, referring to the winds: “They’ve taken snow from the mountains, but they couldn’t get dert (pain) from my heart.”
–Another highlight of this album is Nit’ ja spavam, nit’ ja drijemam. A distinctly feminine song, as it has been performed by artists such as Nada Aleksić, Nada Mamula, Nadežda Cmiljić, Zekija Hodžić, Mirjana Bajraktarević, Milena Plavšić… The question may seem obvious, but did you have a clear idea that this album should have a clear female component, or was it not something premeditated?
-The idea actually was to have a song with accordion and voice combined together. When Damir and I were choosing which song it would be, we chose this one because we both really love the song. The female component is not so intentional but occurred naturally. It just reflects my state and current thinking and emotions.
–In Nit’ ja spavam, nit’ ja drijemam, Damir Galijašević’s interpretation reaches masterful moments. Are we looking at the best accordionist of the new generation?
–Damir is absolutely talented musician and he truly loves sevdalinka and this whole research part and every aspect of this traditional song. I truly believe that his work is valuable and great addition to ethnomusicological work related to sevdalinka.
–You stripped down Evo srcu mom radosti with a solo performance by voice and piano (by Harun Subašić). What criteria did you follow in making this decision and using the piano?
-My brother and I would usually play this song when we’re together. It’s also one of the ideas that were on my mind for a long time. It just reflects our time spending together and playing such songs that require all emotional capacity one has. I love the way he feels music and how he plays his piano.
–I imagine it depends on the moment and the song, but how do you usually feel most comfortable: accompanied by several instruments or just a violin, piano or saz?
-It really depends on the occasion, but also depends on people playing those instruments and whether we have good connection. Also, what plays huge part is ambient of the concert and what it requires. I prefer more intimate spaces for performances, which allow me better connection with the audience and the musicians, regardless of what they play.
–Despite its status as an upbeat song, the vocal performance of Anterija is full of difficulties. Do you think that sometimes, when a song is very popular and well-known and, above all, when it has a festive component, many people forget the merit that its performance can have?
-This is the kind of song that incorporates lots of layers. I love its playfulness but also to the contrast its very serious and emotional moments. I believe people appreciate those rubato moments and just before they would give you the applause, the rhythm continues and suddenly they’re very hyped. It’s a real musical gem.
–The album closes with the beautiful Oj, sevdahu, što si težak, a hit at Ilidža in 1972, with accordion by Ismet Alajbegović-Šerbo, and performed by Sabahudin Kurt. Why did you choose it? It is certainly a song with an exciting chorus that becomes a true tribute to the genre.
-You answered my question. I fell in love with the catchy and exciting chorus that is a true tribute to the genre. I could see myself singing this song and it became part of my album.
–Written by Nadir Porobić and Irfan Ajanović, I think it is the youngest sevdalinka you perform on this album. Before choosing the final songs, did you think about incorporating any other piece composed in the sixties or seventies or even more modern ones?
-It will happen in the future for sure and I’ll release them when it’s time.
–We have talked about some of the people who have accompanied you in the recording of this album. There are others who also participate in many of the songs. All of them are magnificent performers who represent part of the best of the generations of musicians of this 21st century. I would like you to tell me what you would highlight about them. First, the excellent and unsurpassed violinist Ivana Ðurić.
–Ivana, amazing lady who I really love. I love her personality and I love how she plays and the amount of heart she leaves each time she plays violin.
–Admir Vatreš, on the accordion.
-He’s great accordionist. I’m happy that he is the one to play accordion on this album.
–Amar Češljar, besides being part of Sarajevo Jazz Guerrilla, is one of the most versatile and busy percussionists in the region.
–Amar is absolutely great. Humbled by the fact that he’s the one to play percussions.
-Nenad Tešić, on the piano, is one of the undisputed pieces of the BHRT orchestra.
–Nenad is a great addition as well. Love his piano skills!
–Clarinetist Ezher Helja, who has incredible experience.
–Ezher is very talented and experienced. Old school at its best!
–Many people will remember guitarist Mujo Behmen as a member of one of the Mostar Sevdah Reunion breakaways, but he has collaborated with dozens of great and well-known artists.
–Mujo is absolutely one of the best when it comes to guitar. So happy to have him on this album.
–Bassist Kenan Imamović is also a very versatile musician.
–Kenan is my biggest discovery. Absolutely talented and great person!
–I will leave Damir Galijašević for last, although we have already talked about him. He was also in charge of the arrangements on this album. What has he meant in the making of this work?
–Damir was a great support and great friend in this whole process. We made sure to know what we want to achieve and he wrote down each and one of the musical sheets needed. It was lot of work but at the end, we’re happy how everything looks. I will also mention great Adnan Mušanović, producer who made our sound exactly how we imagined it. We were absolutely happy to have him with us. Jasmin Ferović also, executive producer who believed in this whole project until the end. Last but not least, my family and husband as my greatest support who never miss a chance to give me much needed energy and allow me to create and do what I love.
–Damir, you and Zanin can be considered the heart of the Fondacija SEVDAH institution, which is focused on recovering and spreading the art of sevdalinka. The foundation’s activities are many and very continuous. How is Fondacija SEVDAH doing? Do you have enough support from the administration?
-We’re doing okay and every year we learn something new. I believe we push our own boundaries sometimes and that’s the only way to grow. Today, lots of things depend on digital marketing skills. We’re always in the process of learning and reorganizing. The administration could be more supportive though.
–As a result of your work at the foundation, you travel a lot, like Damir and Zanin. What kind of audience is interested in Sevdah these days? Are we seeing more older people, or young people too?
-It’s mixed. I see all generations. I know this genre is not for everyone since it’s not the most commercial. But we’re okay with it. Although we may not have a massive audience, we will have fewer people, but it will be a real audience that truly loves and respects what we do. Time is on our side and we have only just begun.
–We were talking about youth. Do you think that the new generations are more interested in what has been called New Sevdah, or in the more classical sevdalinka?
-I believe you can find both. I talk to young people and some swear on New Sevdah, yet some are more involved in classical style. It’s hard to generalize. Every style has its audience, only some may be more numerous and some less numerous. And that’s all right.
–Fortunately, it seems that Sevdah is experiencing a golden age again, thanks to musicians and performers who, in this 21st century, have set out to revive the genre. This new generation, moreover, has chosen different paths. In fact, there are many philosophical and stylistic currents in this New Sevdah, for example, more focused on experimentation or more inclined to the traditional. Do all these currents coexist without any problem? I mean: do you keep in touch and work together?
-I believe everyone has their own place in this time. Some are more modern or more traditional, some more commercial and some less commercial, it just depends on what’s one’s intention with the music. I believe every style has its values and brings something to Sevdah and of course they coexist without a problem. In this very fast time and fast lives, we don’t get the opportunity to work much together. Through Fondacija SEVDAH, we get to play together and spend time together and that’s why I’m thankful for my crew. Our task is not only interpretation and making music. We research, write, work in the field, record some unknown songs, make concerts in the name of great sevdalinka singers, musicians and writers, make exhibitions and do the work of ethnomusicologists.
–Are you optimistic about the nomination of Sevdah as UNESCO intangible heritage? Is it true that it does not have enough support or that the unity of all the stakeholders is not complete?
-That’s in the process, I believe. I’m not too involved in the process so I’m not aware of the details. That would be a great thing for our country and our intangible heritage. Of course that these things require systematic and detailed plan covered by numerous institutions that cooperate together.
–Finally, Alma, I would like you to tell me about your short and medium term projects. Do they include the possibility of composing and producing?
-I try to be included in every aspect when it comes to making music. Real producing and composing might come with time. Never say never. I know that my best reference is singing… as of now. I will keep some really nice things that are coming as a secret, only because they will be released when I’m fully sure that they’re good. I’m really excited for everything that’s coming.
Lee esta entrevista en español
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Sevdalinkas: 150 joyas del Sevdah, por César Campoy
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