World Tours and Sonic Boundaries: A Conversation with Rusanda Panfili

In the captivating realm of classical music, where virtuosos reign supreme and melodies transcend boundaries, one name has emerged as a force to be reckoned with. Rusanda Panfili, violinist and composer has embarked on a remarkable musical journey that spans vast horizons. Recently, you may have seen her perform alongside the esteemed composer Hans Zimmer during his widely celebrated world tour featuring the music from the film Dune as well as many other favourites.

Panfili's career is a testament to her exceptional talent and unwavering passion for music. From her earliest days, she showcased a profound understanding of the power of classical music and continuously pushed the boundaries of what's possible with her own sound.

In this interview Panfili talks through her first encounters with the violin to the intricate process of composing her albums, she shares the insights of her artistic journey, which is leaving us eagerly anticipating her next musical chapter.

Can you share with us your journey into becoming a musician? Why the violin? 

In my home country Moldova, people love to sing and dance at parties. Everyone has at least a guitar, piano, violin or accordion in their home to play at family gatherings! I have been surrounded by music since I was little and my mom is an incredible violinist, I loved listening, watching and imitating her.

How did you begin to be involved in film scoring sessions? What was your first experience like? 

During my studies at around 20 years old, I began participating in scoring sessions for Austrian composers. It was a stark contrast to live performances. Working in a studio without an audience, yet striving for the same emotional impact, was challenging. Sight-reading the scores added another layer of difficulty. However, I now appreciate the valuable training and experience it provided me.

When working with composers, can you describe your ideal scenario? For example, how do you like to have scores delivered for recording?

The ideal scenario would be to get the scores a few days before the recording, having dynamics, articulation and bowing written down. The more the composer can write down, the better. Especially with remote sessions, this is essential to avoid extra work with revisions. 

When I self-record I also love to get the sample violin or midi on a separate track since little mistakes can always appear and then it’s easy for me to check. Good communication is always key to a successful remote session, so I usually ask for a personal call to discuss details after receiving all materials. 

When did you start to notice that your career not only as a session musician but as a composer in your own right started to take off? 

I felt that once I was able to record, program and produce properly from my home studio. Whenever I feel inspired, or have a melody or idea in my head I can just open my computer and create a decent-sounding track in a short amount of time. It has always been a big dream of mine to have a creative space where I can compose and be emotionally free. Now my home studio allows me to do almost anything I want! Not only my large collection of instruments is helpful but also the many sample libraries I gathered are an incredible tool to compose with.

Who are your favourite composers to work with, and what valuable lessons have you learned from them that influenced your own career and music?

One of my most significant collaborations, and it just hit me how long it's been, has been with Hans Zimmer over the last seven years. Working with him has exposed me to a wide range of complex and diverse projects. What I found most intriguing is that he approaches each project and score in a unique manner, demonstrating that there is no fixed recipe for success.

Working with Steve Mazzaro taught me the importance of professionalism and speed in this industry. It's about being able to gather yourself quickly and deliver. These qualities are not easy for everyone, which is why the industry is tough but I was so thankful to be able to learn about his processes.

I could mention so many other people but one other composer to mention is Carlos Rafael Rivera. I loved working with him. He is incredibly kind, and energetic, and pays close attention to musical details, including the little effects. I feel blessed to learn and grow as a session musician through such experiences.

Let's talk about your music! Can you share in detail about your process in creating an album, from ideas to the finished product? 

When a full-sounding piece takes shape in my mind, I must capture it immediately. Whether through a voice memo, handwritten score, or diving straight into the studio, I create a basic structure. Initially, I focus on instrumentation and tempo, incorporating as many ideas as I have at that moment. I have a collection of such files that I occasionally revisit. From those, I select the ones I like and develop them into an album. For me, an album is a journey that reflects a particular period of my life. The style, vibe, and narrative must be interconnected.

In the case of my latest album, Andara 1980, I began by writing a short novel that served as the inspiration for the music. This is why the album possesses a cinematic quality, taking listeners on a musical journey through the story itself.

What's your experience in sampling? It can be tricky to master the art of sampling a violin…

Absolutely, the violin is generally a very tricky instrument. Usually, I don’t use solo violin samples, only orchestral ones, and it's tricky to program. It takes a lot to master a great solo violin sample library but it’s possible. I have partially created my own.

As a violinist, I analyse myself during playing, which tricks I use to play and then I translate it into the sampling language. Most composers use keyboards to write for violin so for virtuoso passages I found a way with dynamic layering and programming vibrato on various notes to make it sound just like a real violinist…well…maybe even a little better! Then there is the sound of the instrument and the quality of the recording. It’s a very complex instrument to master when sampling but I’m extremely hooked on exploring what I can do more in this direction as a player.

What would you love to see change in the industry? Are there things that we could be doing more of from your perspective? 

Of course, I would love to see more underdogs and women scoring the big movies. Let’s all work on supporting that, it would be very meaningful for the future of independent artists and would bring variety and fresh wind of musical colours. 

What can we expect from you next? 

More music and 2 new albums! One of them is dedicated to Tango Nuevo, contains my own arrangements for violin and orchestra and is coming out in Spring 2024. The other album is a collaboration with composer Johannes Winkler and it’s a Neo-baroque/electronic crossover project with original compositions. We don’t know the release date for this one but you can expect a few singles being released this year already. 

Listen to Rusanda's music here.