Music for documentaries
If there is one factor binding the three members of Tonality, it's their love for visual music. They therefore get regular requests to create music for documentaries, movies, theater performances and modern dance. A good example is the long-term collaboration between documentary makers Hans Hermans and Martin Maat with composer and bass player Tony Overwater. For over a decade, Overwater has made music for the startling documentaries of these renowned film makers. The documentary 'Justice for Sergei' won a Golden Bear at the documentary festival in Berlin.
The Dutch IKON documentary series "Om de Oude Wereldzee" about statesman Abraham Kuyper is a highlight project. The documentary (in 8 parts) was a great success and famous for its special music. It was released as an independent album, also by the Iranian label rahgozar Heft, carrying the title 'Traveler'.
The influence of Islam on Mediterranean countries
The documentary is about the journey Abraham Kuyper made in 1905, to study the influence of Islam on the countries around the Mediterranean. The knowledge of Arabic music that Overwater and his fellow musicians have built over the past few decades, made it possible to provide this documentary with profound music.
A harmonium was purchased specially for this documentary, to emphasize the ‘reformed’ sound of Kuyper, next to the oriental sounds of ud and percussion. Specialists of various musical styles came together to record the album. Rosanne Phillipens is not only one of Dutch most talented violinists but also expert in gypsy music. Nizar Rohana is a Palestinian ud player studying the various styles of Arabic music at Leiden University.
Music about crisis in Syria and Iraq
Frereichs’ collaboration with the Belgian-Iraqi filmmaker Bavi Yassin received an unexpected turn when IS declared the caliphate. Prior to that, Frerichs and Yassin were working on a documentary format, which was to be about the division between two cultures. After the dramatic events in Syria and Iraq of recent years, the director felt she had to face the music and follow her own Iraqi roots to the warzone. The way in which Yassin ends up in IS underground tunnels and how she reports on the humanitarian drama she witnesses made a big impression on composer Frerichs.