Interview of Lore Amenabar Larrañaga

1) The Accordion. What does it represent for you and what brought you to undertake the study of this fantastic instrument?

I am originally from the Basque Country, where the accordion plays a significant role in our folklore. Growing up, the sound of the accordion was a constant presence in my life, accompanying family celebrations and village festivals. It wasn’t a surprise when, at the age of eight, I picked up the instrument. The accordion wasn’t just a musical instrument—it was a connection to my identity as a Basque person and to my musical heritage.

From my early days as a folk musician, the accordion became a means of exploring and expressing this deep-rooted connection. Participating in competitions and giving concerts, as well as consistently working on the instrument from an early age, taught me discipline and shaped who I am today. I’ve always learnt from other competitors and concert performers, gaining valuable insights into different approaches and techniques.

At fourteen, I was admitted to the conservatoire in Donostia (San Sebastian), where I began formal classical training. It wasn’t until later, during my studies at the Sibelius Academy in Helsinki, that I was introduced to a broader range of musical languages—classical, contemporary, and microtonal. During my PhD at the Royal Academy of Music in London, I began to delve into the exciting world of microtonality, continuing to explore new dimensions of sound.

Above all, the accordion has been a vehicle for artistic exploration and expression, allowing me to evolve as a musician while remaining grounded in my cultural roots.

2) You have certainly had the opportunity to study with prestigious teachers in the accordion world. How was your relationship with them and what do you feel you have received from each of them?

Indeed, I have been fortunate to study with some incredible teachers who were not only exceptional musicians but also able to meet the pedagogical needs I had at each stage of my development.

Ainhoa Elizondo (from Loatzo Musika Eskola) and Salvador Parada (from the Francisco Escudero Conservatoire) helped me fall in love with the accordion and contributed to the deep connection I feel between my identity, my identity as a Basque person, and my identity as an artist.

Veli Kujala, Matti Rantanen, and Mika Väyrynen (from the Sibelius Academy, University of the Arts Helsinki) introduced me to various musical languages the accordion could speak, including transcriptions, original classical music, and microtonal music. Moreover, Mika’s focus on technique during our five years together helped me elevate my performance skills.

Even though my formal studies are behind me, I continue to learn from my teachers. Their voices remain with me—guiding me whenever I perform. It’s a testament to the power of great teaching that I still feel their influence in my playing.

3) Tell us about Lore Amenabar Larrañaga as a teacher? And what do you try to convey to your students?

Currently, I’m teaching at the Yehudi Menuhin School in the UK, and I find teaching to be one of the most fulfilling aspects of my musical journey. My approach to teaching is rooted in my own experiences as a student. I aim to offer my students not just technical skills, but also the tools they need to become independent, critical musicians. Like my own teachers, I want to meet them where they are and help guide them on their unique musical path, encouraging curiosity and creative thinking.

I strive to create an environment where my students feel supported, yet challenged – an atmosphere in which they can grow both as musicians and individuals. The process of learning is not just one sided; I learn so much from them, too. Their questions, fresh perspectives, and their creativity continually inspire me to grow, not just as a teacher, but as an artist. Being a teacher is a privilege, and I treasure the opportunity to help shape the musicians of tomorrow.

4) Among the various musical styles and genres, which is the art form you feel you relate to best?

This is a challenging question because my musical journey has been shaped by a variety of influences, from folk music to classical to microtonal experimentation. Rather than seeing these genres as separate paths, I view them as interconnected elements that inform my artistry. What excites me most is the freedom to explore different musical languages and find new ways to express myself.

Today, I am particularly passionate about creating new music. Through collaborations with composers, I’ve had the opportunity to create works in both 12-tone equal temperament (12-TET) and 24-tone equal temperament (24-TET). This exploration of microtonality has opened up new possibilities for the accordion. I also continue to listen to non-classical music regularly, attending concerts and gigs, always seeking fresh inspiration from genres beyond my own.

For me, being a musician is about embracing variety—allowing each new experience to inform my work and continue my journey as an artist.

5) Among your various experiences as a concert performer, which one do you feel most connected to? And why?

I deeply value and learn from every concert I perform—each one holds its own significance, whether it’s a small gathering or a large event. Over time, I have come to place special importance on the interaction I have with the audience, both during the performance and in the moments that follow.

For example, one of my most treasured experiences was performing at the Former Residence of the Ambassadors of Spain in Washington, D.C. (USA) in October 2023. The evening had such a beautiful energy, with a wonderful mix of audience members who were genuinely curious about both my instruments, and who had no bias toward either the classical accordion or the quarter-tone
accordion.

While performing, I could feel the curiosity, optimism, and open-mindedness towards something new. That dialogue opened the door to a connection that went beyond the music itself. The genuine joy and enthusiasm shared by the audience, both during and after the performance, truly touched my heart. It is an experience I will treasure forever.

6) How did the idea of the Quarter-Tone Accordion come about?

During my studies in Finland, I had the opportunity to hear Veli Kujala’s quarter-tone accordion for the first time. This happened in 2015 during the première of Jukka Tiensuu’s Anomal Dances for quarter-tone accordion and symphony orchestra. Veli was generous enough to let me try the instrument and answer the multitude of questions I had. He opened the door to my microtonal journey. As I often describe it, I could not ‘unhear’ the sound-world I experienced through Veli’s instrument.

I became fascinated by the twelve extra pitches and decided to design my own quarter-tone accordion while finishing my Master’s studies in 2018. I knew I wanted both manuals to produce twenty-four notes, with each manual mirroring the other in terms of pitch locations. I also wanted all four voices in the right hand and all three in the left to be capable of producing quarter tones.

I presented these ideas to the team at Bugari, the same company that built my current classical accordion almost ten years ago. I was confident they would be open to listening to my ideas and helping bring them to life. Paolo (Picchio) and Gianluca (Gobetti) were incredibly supportive and helpful throughout the entire process, offering valuable advice and insights, but it was truly the entire Bugari team – whose collective expertise and craftsmanship—that made my quarter-tone accordion a reality. Thanks to their dedication, the instrument was completed in February 2020.

7) Can you tell us about the album “ISPILU”?

Once my quarter-tone accordion was built, the next natural step was to explore the instrument in depth. As part of my PhD project, I presented my work to various composers and performers, inviting them to create pieces specifically for the quarter-tone accordion. They were all very enthusiastic about being part of the project! These collaborations resulted in ten pieces, each serving as a tool to better understand the instrument. While each piece is an independent artwork, they were all used as ‘mirrors’ placed in front of the quarter-tone accordion, reflecting its identity.

I had the honor of collaborating with eminent musicians such as James Batty, Donald Bousted, Océane Deweirder, Michael Finnissy, Christopher Fox, David Gorton, Veli Kujala, Claudia Molitor, Electra Perivolaris, and Mioko Yokoyama. To gather the pieces created, I decided to record an album called ISPILU, which is the Basque word for ‘mirror’. The recordings were made between October 2022 and April 2023 in our home studio in London, with my partner Evin Kelly as the sound engineer. It was then mastered at Abbey Road Studios and released in September 2023.

I feel deeply grateful to everyone who contributed to the creation of this album, and I am very proud of my debut CD!

8) Do you have plans for the future?

I’m committed to continuing to push the boundaries of the accordion, both through commissioning new works and performing on the instrument. I believe there’s still so much untapped potential in the accordion, and I want to keep exploring its unique capabilities—whether through collaborations with composers or by incorporating new technologies and techniques into my performances.

On a personal level, I am excited to continue expanding my musicianship. I am always seeking new ways to grow as an artist, whether that’s through discovering different musical traditions, diving deeper into microtonality, or taking on new artistic challenges, such as multidisciplinary collaborations.

I also plan to keep learning from my students. As a teacher, I am constantly inspired by their creativity, questions, and growth. They offer me fresh perspectives that help me evolve both as a musician and as a person. My goal is to nurture their development while continuing to evolve alongside them.

There are always new challenges and opportunities ahead, and I very much look forward to what the future holds.