Darko Nikčević Exclusive Interview

Author - Mag. T.C. Carlin/Tealartis

Your music is providing a unique blend of Mediterranean and Middle Eastern mysticism, receiving praise from prominent international music magazines around the globe. What inspires you to compose, and what is your process for creating new works?

The process of creating a composition is a mystery, a secret. For me, it remains something beyond comprehension. It happens during the hours I spend with my guitar, improvising on the strings. Whether by chance or intention, a combination of tones, harmonies, or rhythms sparks an idea. I then develop this idea in my mind, practically singing the continuation and expansion of it to myself. I try to translate it to the guitar as quickly as possible and play it. During this process of transformation, new ideas emerge, making the entire process a blend of imagination, chance, inspiration, atmosphere, the space I’m in, and the moment I exist in. Sometimes, this inspiration is tied to a geographical place I am deeply thinking about while playing and composing a piece. Other times, it is influenced by the emotional state I am in when I’m with my guitar. The essence of it all is that the entire process is profoundly mysterious and, in my case, still incomprehensible and elusive.

You have created a number of albums together. How do you approach the preparation for recording an album versus preparing for live concerts? Are the processes connected in any way?

Whenever possible, I always try to perform newly composed pieces in front of an audience first. It is through this communication, in a live performance, that the best approach to interpreting a composition becomes clear. Ideally, multiple performances are highly desirable, as each one teaches me something new about my own piece. Only after these performances – when I’ve tested how the piece truly sounds in several live settings – do I approach the recording process. During recording, I strive to play the piece as I would in a live performance, aiming to capture that moment of communication with the audience. However, this is not always feasible. Sometimes there aren’t enough concerts, or the need to release a CD is bound by specific deadlines, requiring the recording to be completed before live performances. In such cases, I always make an effort to convey the energy of playing in front of an audience, even when recording without prior live experience.

When it comes to preparations for a concert or a recording, they are identical in my case. The way I practice and learn my own compositions follows the same approach. The preparations are entirely the same because the methods of interpretation during live performances and recordings are identical as well. Sometimes, during the process of composing a piece, by the time it is completed as a composition, I have practiced it so extensively throughout the creation process that later it requires no special preparation for a concert or recording.

You recently did a recording of your new piece “THE SECRET“, a Fantasia Concertante for two guitars and orchestra. Can you give some insights on this particular project?

The Secret - Fantasia Concertante for two guitars and orchestra is a piece Srđan and I co-composed, an idea we had been contemplating and aspiring to for years. However, until we connected with our orchestrator, Maestro Claudio Ianni – a remarkable individual and a master of orchestration – we were unable to realize this vision. We quickly selected and prepared several pieces, some of which had not yet been released. We recorded them, prepared the sheet music, and based on these materials, Claudio created the orchestration. He did such an exceptional job that we didn’t need to make a single change to his work. We later recorded the piece with the FAME’S Orchestra in Skopje, a studio specializing in orchestral recordings, and we are thrilled with the results.

Achieving something we had dreamed about for years was incredibly fulfilling. The entire process was revolutionary for us. From the moment we started composing these pieces, we had no idea they would become part of such a work, nor were we prepared for it. Of course, the orchestrator’s role was invaluable. Claudio shaped the entire piece, adding the orchestra in such a masterful way that it never overshadowed the guitars. Instead, it provided new musical depth and meaning, something only a true master of their craft could achieve. We consider Claudio to be one of the greatest in this field. During the recording process, we also made a documentary-style video to capture the session, recognizing how important it is today to have visual material to accompany the music we present to the world.

What advice would you give to young musicians who are just starting to record albums? Do you have any practical tips?

I graduated from the Faculty of Electrical Engineering and earned a master’s degree in audio technology. I was fortunate to work at Radio Television of Montenegro, where I gained significant practical experience in music production. This included sound recording, mixing, mastering, and all the processes related to music production. This knowledge has greatly contributed to almost all of our albums. As the chief audio engineer at the national broadcaster, I was able to record nearly every one of our CDs in Studio Six of Radio Television of Montenegro. It’s an excellent space designed for smaller chamber ensembles. Over time, I invested in my own audio equipment, so I wasn’t entirely dependent on the studio’s resources. Nearly every album was recorded using my equipment, and the skills I acquired through years of education, practical work, and independent research allowed me to achieve the highest quality recordings in the simplest possible way. I see this as a significant advantage because I was able to record our albums when we were at our most inspired. This is crucial in any musical genre. We played without the pressure of time constraints, allowing us to take our time and enjoy the process as much as possible. This relaxed approach ensured the best results during recording sessions.

My advice to young musicians would be to learn as much as possible about music production. This knowledge can only be beneficial. The experiences I’ve had in this field have been critical to the success Srđan and I have achieved. In today’s music world, if you don’t have an audio recording, you don’t exist. If you don’t have a video recording – especially a live concert recording – you cannot adequately present yourself to concert organizers. In the past, biographies and formal education were the primary tools for promoting musicians. Organizers often wouldn’t book a concert without attending a live performance first. Today, the process is much faster, with most decisions based on live recordings. Almost all of our live concert recordings – whether as a duo or with an orchestra – have been captured by me. For performances with just the two of us, I recorded, mixed, and mastered most of the material myself. In conclusion, while young musicians should focus on learning, playing, and carefully selecting their repertoire, they should also dedicate significant time to studying music production and the technology used in the field. This knowledge can only enhance their careers.

How do you prepare for concerts, and what does a typical concert day look like?

Concert preparations are a lengthy process. At least in my case, there is no preparation for a specific concert. The pieces I want to perform in concerts are the ones I practice almost daily for a long period of time, following the usual approach used by all classical musicians. This ensures that no concert can catch me unprepared. However, on the day of the concert itself, I have a particular routine – I never play extensively. My only preparation consists of a very brief warm-up. This takes place in the last half hour before the concert, simply to loosen up my fingers and get ready to perform. On the day of the concert, I focus on relaxing as much as possible. I try to enjoy the day, meditate, and cultivate positive thoughts while playing as little as possible. The goal is to miss the guitar so much that I can’t wait to pick it up and play the concert.

How do you select programs for performances? Do you blend your compositions with classical repertoire?

Over the past decade and a half, our concerts have been dedicated exclusively to performing our original music – compositions written by Srđan and me. We only play pieces that are part of our regular concert repertoire. On rare occasions, just a few times in the last 15 years, organizers have requested that we include classical repertoire pieces for up to half of the concert. We always respect such requests. However, what is interesting is that, although these classical pieces are always well-received by both the audience and critics, we consistently receive feedback – even from the organizers themselves – that the concert would have been best if we had performed only our original works throughout.

Should the concert program cater to the audience or the artist's sensibility?

In both the process of composing and later shaping and performing a piece, my personal experience is always the main criterion. I strive to ensure that both the composition I’ve written and the way I perform it meet my own needs, desires, and views on music. I am always my own toughest critic and the most important evaluator. Everything I do in music is grounded in my personal perspective and experience. If I am satisfied with a piece, I believe that is a necessary condition for the audience to enjoy it as well. If I’m not satisfied with a piece or the way I perform it, how could the audience possibly be?