On Giacometti Hania Rani

• 1 Rani: Allegra 04:01
• 2 Rani: Spring 03:06
• 3 Rani: Stampa 02:00
• 4 Rani: Struggle 02:43
• 5 Rani: Morning 02:34
• 6 Rani: In Between 02:19
• 7 Rani: Knots 01:54
• 8 Rani: Dreamy 02:59
• 9 Rani: Storm 03:18
• 10 Rani: Time 05:53
• 11 Rani: Mountains 04:07
• 12 Rani: Annette 03:22
• 13 Rani: Alberto 03:47
• Total Runtime 42:03

Info for On Giacometti

Hania Rani announces "On Giacometti" a tender meditation on the life and art of Alberto Giacometti and family.

"On Giacometti" is a collection of beautiful recordings inspired by the renowned artist and family and features some of Rani’s most profoundly delicate compositions to date. Invited by film director Susanna Fanzun, to score her forthcoming documentary on the legendary artist Alberto Giacometti, Hania Rani took herself to the Swiss mountains to compose in blissful isolation. As Rani explains eloquently below the compositions are based on improvised melodies, simple harmonies and structures and inspired by the silence of the mountains as Rani returns to her main instrument, the piano. The results are beguilingly reminiscent of her beloved debut album Esja, but with subtle extra layers of synthesiser, and on two tracks cello from friend and long-running collaborator Dobrawa Czocher.

Words by Hania Rani "On Giacometti"

When I was asked to compose a soundtrack for a movie about the family of Giacometti I didn't think twice. Alberto Giacometti, a Swiss artist, who worked mainly as painter and sculptor has been one of my favourite artists for a long time. His individual style, aesthetics and the character of his creative process is still fascinating to me on many levels, so being able to dive even deeper into his universe, getting to know not only him but also his family was an opportunity that I couldn’t miss.

Little did I know how far this "yes" will take me - not only mentally and on a creative level but also physically. Thanks to the director of the documentary - Susanna Fanzun and by a stroke of luck and a couple of extra questions I decided to move for a couple of months to the Swiss mountains, not far away from the place where Giacometti was born and where the place he called home was, although he didn’t live there. Susanna showed me a place close to her hometown where I could rent a studio and work on the soundtrack but also for my other projects. It was the middle of a winter, the area was full of ice and snow, just like only it can happen still in the mountains. The residency house was located in a valley surrounded by high mountains and the sun in the winter season was not coming up for too long during the day. I remember she told me about it and added "that not everyone is feeling well there, but I hope you will". I did.

Being almost separated from reality, the city and its entertainments, people rushing and everything that usually takes my attention I could fully concentrate on the music and soundtrack, spending most of the day with my own thoughts and having enough space to experiment and be free in a creative process. This soundtrack would probably be a very different thing if composed in a place that I am usually living in. I took this a chance to explore something new about myself as a composer and human being, taking the opposite direction that I would usually choose for myself.

The album "On Giacometti" includes the excerpts from the soundtrack, the most representative tracks and those which became a strong voice itself. Based a lot on improvised melodies, simple harmonies, structures and silence it reminds me of my debut album "Esja" which was partly composed and recorded in another chilly place - Iceland. All these components, both mental and physical, guided me back to my main instrument - piano, which I tried to redefine again with a language of the space that I was working in. The space is usually the key element that gives me the answer about the arrangement or character of the project. Space seems to be the first to appear and music is the invisible power which is changing its angels.

Living surrounded by mountains makes you change the perspective and understanding of scale as Alberto Giacometti once famously wrote in a letter.

It gives an impression that things that are actually far away, like mountains, are close and the other ones that are not so far away, like people, seem small, watched from a distance.

You feel like touching the mountain top with your finger could be as easy as touching the tip of your nose. The snow additionally protects the whole area from the noise, each sound lands softly on the ground accompanied by echoes of immeasurable space. Each scratch or whisper is becoming an autonomic entity, opening the gate to the world of ghosts and lost spirits. It's easy to think that time stands still there, while nothing is moving and changing at the first sight.

But the ubiquitous ice and snow reveal the passage of time, transforming frozen paysage into the wild stream of water - each day, hour and second. Melting and vanishing, clearing the space from white powder and noise consuming surface. Invisible process for a one night traveller, becomes painfully real for longer time settlers.

Time flows with each new wave of sound coming through the river, reminding us that we are part of the cycle, which endlessly repeats itself.

I left the valley with the first breath of the spring.

Hania Rani

Hania Rani
Hania’s music grabs you — its gravitational pull sucks you into a hypnotic trance, regardless of your will. Pianist, composer, and vocalist, she has emerged as a genre-blending nonconformist who nevertheless has made a name for herself interweaving classical, jazz, and electronic influences. Born in 1990 in Gdańsk, Poland—a city renowned for the Solidarity resistance movement, the first independent labor union in the Eastern Bloc active throughout the 1980s — Hania began playing the piano at age seven. She eventually trained as a classical pianist in Warsaw and later pursued studies in Berlin, where she began to explore electronic music. Recently, she has settled in London.

Rani is a quiet star — more interested in connection than fame or spectacle - and constantly seeks the new in her work, challenging herself and her audience in an active process or renewal and regeneration. It’s a driving quality that she has brought to bear on a remarkably diverse catalogue, beginning with 2015’s Biała Flaga, released with her friend, cellist Dobrawa Czocher, and reissued by Deutsche Grammophon in 2021. She’s since progressed swiftly through a series encompassing solo piano albums like 2019’s Esja, 2023’s more electronically inclined Ghosts, not to mention film and theatre scores, art installations, even her first piano concerto. It is this restlessness that a decade after her artistic debut, keeps driving her to greater heights. “I guess I’m quite single minded,” she laughs. “Often I’m not ultimately happy and that allows me to think, ‘This time I’ll be better’.”

A self-confessed latecomer to writing and recording her own compositions, Rani was born in 1990 to an architect father and doctor mother, growing up in a house filled with music. Her earliest memories include its presence, and it was only when she began spending more time at her friends that she began to understand how the sounds of neither her father’s Beatles, Pink Floyd and Cat Stevens LPs, nor her mother’s classical collection, were a constant feature in other families’ homes. Enrolling, aged seven, at music school, she soon found herself exposed not only to the intense training demanded by classical music– she could read and write music almost as soon as words – but also, slowly but surely, to a further range of styles across the spectrum.

Still, the institution’s focus was on performance, and the idea she might nurture her own creativity – especially as a Pole, even more so as a female – rarely crossed her mind. Though she witnessed other musicians covering a gamut of different genres, sometimes even arranging their music – especially after she moved on to Warsaw’s Fryderyk Chopin University – she continued to restrict herself to collaboration. For a time she was half of Poland’s respected alternative pop duo, Tęskno, releasing an album, Mi, in 2018, but even Biała Flaga, released when she was 25, had contained just a smattering of hers and Czocher’s own short compositions. Instead it was primarily concerned with their rearrangements of Polish rock star Grzegorz Ciechowski.

It was during the second half of the 2010s that Rani moved to Berlin to continue her studies at Hanns Eisler Hochschule Für Musik where she really developed as a composer, taking counter-point and contemporary music classes as well as studying acoustics and collaborating with modern opera directors and theatre directors and poets. It was also in Berlin where Rani would start to explore electronic music and experience and a growing and immense feeling of freedom, expanding what felt possible as a pianist and performer. She also made friends with an Icelandic opera singer, Álfheiður Erla Guðmundsdóttir, who welcomed her into a likeminded circle of her island homeland’s musicians. On her first visit to the country, too, Rani was introduced to Bergur Þórisson, one half of Hugar and a collaborator with Ólafur Arnalds who was just beginning to work with Björk. He invited her to return to record pieces she’d written for piano, though even she didn’t consider them especially worthy of further exposure afterwards, at least not outside her native country.

In fact, having returned to Warsaw following the conclusion of her studies, these pieces were merely an afterthought when she decided to reach out beyond Polish borders. By now, her main focus was on the sketches she’d prepared for what would turn out to be the foundation of her second album, Home. Gondwana Records, chosen as home to Portico Quartet, one of her favourite acts – and now Rani’s label – had ideas of their own, however. Just days after she’d sent both collections, they invited her to London, where they persuaded her to release Esja. This proved fortuitous, with its palliative tranquility a welcome counterpoint to the pandemic’s menacing uncertainty less than a year later. Soon she was captivating audiences trapped in households across the world, while lockdown also provided the chance to complete Home, which, in contrast to Esja, featured vocals and strings as well as additional contributions from bassist Ziemowit Klimek and drummer Wojtek Warmijak.

Released in late spring, 2020, this second solo album, like her first, picked up awards in her homeland as well as international acclaim, but Rani was far from content to rest on her laurels. Passionate about the visual arts including architecture, photography and of course cinema, she also composed scores for Piotr Domalewski’s film, 2020’s I Never Cry, and a play, Nora, directed by Michał Zdunik, with pieces for both included on 2021’s Music For Film And Theatre alongside other examples of her scoring work. That year, however, had already started with a remix exchange between Rani and Portico Quartet, and she’d also been invited to contribute to the 2021 Berlin Film Festival, releasing Live From Studio S2 on Piano Day. The enchanting, 25-minute performance – recorded and filmed in monochrome by a team of two in one of Polish Radio’s most iconic studios – has since amassed well over seven million views.

Even this wasn’t enough to satisfy Rani’s curiosity and passion, with Inner Symphonies, her second album with Dobrawa Czocher, released by Deutsche Grammophon in October, 2021. “My teacher’s room at music school was full of vinyl with the famous ‘Yellow Label’”, she marvels. “It felt like a dream come true.” If, furthermore, this collection, made up this time of their own compositions, only encouraged interest from film and TV, so did her soundtrack for 2022’s Venice – Infinitely Avant-Garde, not to mention On Giacometti, an album of piano music written for 2023’s The Giacomettis. In addition, she worked on her first production for Amazon, 2023’s The Lost Flowers Of Alice Hart, starring Sigourney Weaver, which, after receiving eight nominations at the Australian Academy of Cinema and Television Arts Awards, picked up four prizes, including Best Miniseries.

That year, too, Rani finally set out on tour again across Europe and North America, as well as finishing Ghosts, her most ambitious work to date, between Warsaw and Berlin. Released in October 2023, it was dominated by synths, featured her acrobatic voice yet more prominently, and its dismissal of any lingering belief she was merely another ‘New Classical’ composer was heralded by ‘Hello’s sprightly yet ethereal pop. Besides, with vocals from Patrick Watson on ‘Dancing With Ghosts’, the reappearance of bassist and Moog player Klimek, ‘Whispering House’ written and recorded with Ólafur Arnalds, and Portico Quartet’s Duncan Bellamy contributing loops, Ghosts introduced her to a whole new audience who welcomed these widening horizons.

Soon, having improbably provided music for ITV’s coverage of the English football team, she was on the road once more, headlining shows from London’s Somerset House to San Francisco’s Great American Music Hall. Meanwhile, visitors to Zodiak, the Warsaw Architecture Pavilion, could enjoy Room For Listening, a sound and spatial art installation, designed with architecture studio Zmir, in which an hour long composition is looped and streamed through 25 speakers. Rani then rounded off 2024 with a document of her live shows, recorded at the Polish Radio studios where she’d filmed Live At Studio S2, this time with an additional string ensemble. Now she occupied S1, its concert studio, afterwards providing the striking photos making up Nostalgia’s artwork as well as liner notes illuminating stories behind the music and her fascination with the space itself.

Confirming Rani’s eagerness to explore a myriad of musical avenues, 2025 will see the release by Decca of her piano concerto, Non Fiction. Commissioned in its original form by POLIN Museum of the History of Polish Jews, it was initially inspired by music written in the Warsaw ghetto by child prodigy pianist and composer Josima Feldschuh, who died in 1943, aged 13, while in hiding from transportations to Treblinka’s extermination camp. Moved by the girl's story Rani choose to examine it through the lens of modern horrors: the invasion of Ukraine and genocide in Gaza, and how closely we can 'observe' and 'hear' them through modern media. In doing this Rani aims to examine the constant coexistence of harmony and disorder creating a sonic metaphor for the survival of the human spirit when faced by the violence and uses the emotional value of sound to make these somehow distant conflicts more relatable to us on a human level. First performed in spring 2023, the expanded and reorchestrated concerto has now been recorded at Abbey Road Studios with The Manchester Collective, led by violinist Rakhi Singh, conducted by Hugh Brunt – Co-Artistic Director and Co-Principal Conductor, alongside Robert Ames, of the London Contemporary Orchestra – and featuring the remarkable individual voices of Portico Quartet saxophonist Jack Wyllie and renowned percussionist Valentina Magaletti. Non Fiction will be released on Decca Records on November 14 and will receive its premier performances at the Barbican Centre London on November 25 and 26, 2025.

In addition, Rani continues to write for films, including the adaptation, starring Glenn Close, of Tove Janssen’s The Summer Book, and Sentimental Value, directed by the Academy Award-nominated Joachim Trier and winner of this year’s Grand Prix at Cannes. In addition recent solo shows took Rani to Japan and Australia including Sydney Opera House and she toured her Ghosts album in its entirety with an eight-piece international ensemble – including her old friends, Klimek and Czocher – on a tour stopping in some of Europe’s most prestigious concert venues including sold-out shows at Berlin Philharmonie, Salle Pleyel in Paris and the Barbican in London. In this mass of activity, then, there is perhaps no better illustration of her compelling urge to explore, research and dissect her work – whether orchestral, electronic or piano, vocal or instrumental, alone or collaborative – nor, more importantly, her endless determination to “be better” and see “the beauty in things”. Music moves spirit, after all. As Rani observes, “probably the only stable part of my career is change. To have the opportunity to switch from touring to piano concerto, from piano concerto to pop, that’s the way ahead for me...”

This album contains no booklet.