Albanian iso-polyphonic music has become a key part of the soundtrack for “Odyssey,” the upcoming Hollywood production directed by Christopher Nolan and produced by Universal Pictures. The film’s score comes from acclaimed composer Ludwig Göransson, who won an Oscar for his work on “Oppenheimer.”
Speaking on the program “Në Radio” with Andri Xhahu, composer, ethnomusicologist and academic Vasil Tole revealed the story behind this historic collaboration. Tole served as part of the music experts’ team that supported the film’s production.
He explained that Göransson began his research in Albania through a private musical expedition. During the trip, the composer recorded traditional groups, ensembles and individual performers who preserve Albania’s rich polyphonic heritage, recognized by UNESCO since 2005.
Later, Göransson’s team contacted Tole in Hollywood. They asked for his expertise because the Oscar-winning composer wanted to include this unique tradition in the film’s music. At the time, Göransson admitted he knew little about Albanian iso-polyphony and its potential in major international cinema.
The collaboration then took shape.
The use of Albanian iso-polyphony came as a clear artistic choice. Christopher Nolan wanted to avoid traditional symphonic orchestras and explore ancient sounds closer to nature and early human expression.
As a result, Albanian polyphony with its distinctive iso element became a central musical foundation for the film.
Tole said his role was to help Göransson understand the historical and cultural roots of this tradition. He explained that iso-polyphony dates back to the Homeric and pre-Homeric era and has survived through centuries with only minor changes.
According to Tole, the power of iso comes from the deep connection between human voices, nature and collective memory. The different vocal roles — the iso, the lead voice and the supporting voices — reflect a musical structure shaped by generations of Albanian tradition.
From hundreds of field recordings, Göransson selected three major elements for key moments in the film.
These include the traditional flutes of Gramsh, performed through a polyphonic instrumental style; the voices of the Young Group of Delvinë; and the remarkable flute performances of Vendim Kapaj.
Tole explained that each element serves a different dramatic purpose. The Gramsh flutes appear during scenes connected with cultural and geographical landscapes. The voices of the Delvinë group accompany moments linked to Odysseus, bravery and battles. Meanwhile, Kapaj’s flute represents the world beyond, the sirens, sorrow and loss.
The way Göransson integrated Albanian sounds into the soundtrack represents an artistic innovation, according to Tole.
Instead of simply using traditional recordings, the composer blended original field material with his own musical compositions. This technique, known as a hybrid score, combines modern composition with authentic traditional sounds.
Tole believes this approach gives the film a unique identity while paying tribute to Albanian culture.
He described Göransson as an exceptionally talented composer, praising his creativity and professionalism. Tole said he was impressed by Göransson’s previous work on “Oppenheimer” and his ability to create original musical solutions.
For Tole, Albanian iso-polyphony became the perfect choice because it represents one of the world’s most distinctive forms of multi-voice musical expression.
“Other cultures have polyphony too, but iso-polyphony has a unique character,” he said. “Göransson understood its mechanism and used the iso as the foundation of the entire soundtrack.”
In the end, Tole described his contribution with humility. He said he simply “sang the iso” for his country and its culture, continuing the mission he has pursued through his research, books and creative work.
He also expressed confidence that Göransson’s extraordinary score could earn another Oscar recognition.
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