Viktoria Tolstoy is not a jazz puristand integrates elements of folk, funkand pop into her albums.While music was her destiny, Viktoria Tolstoydid not pursue it in the conventional way and has neverreceived any formal vocal training. Her classrooms werethe jazz clubs in Stockholm, where she performed eveningafter evening. At the age of barely 20, she brought out herdebut album and two years later För Älskad (which translatesroughly as “excessively beloved”) catapulted her intothe local charts. The public could no longer ignore thatremarkably vibrant, utterly irrepressible and artfully mutablevoice of hers.You can listen to a sample of Viktoria Tolstoy’s current albumas part of the <strong>Audi</strong> magazine iPad app.The singer walking past the Moderna Museet contemporary artmuseum in Malmö. “I love how old and new co-exist in creativeharmony in this city.”“I love how isolated this house is. So much of myyear is spent traveling—this is where I recharge my batteries,”says Viktoria Tolstoy, looking across at drummerRasmus Kihlberg. The pair married recently and their fouryear-oldson Niels, who has smears of colored chalk on hisface and hands, trots merrily around the house.“When I was Niels’s age, I already knew that Iwanted to sing and perform on stage. My father is a pianistand jazz was always part of my life.” Accompanied by herfather on the piano, Viktoria made her first appearance infront of an audience when she was 14. “I stood up thereand sang my heart out, and it was the most glorious thingI had ever experienced.”Now 38 years old, Viktoria Tolstoy is not a jazz puristand has absorbed a variety of musical influences overthe course of her career. “When elements of folk, funk,pop or soul move me, I integrate them into my songs.”The musicians she admires—among them Chaka Khan andDinah Washington (1924–1963) as well as instrumentalistssuch as guitarist and harmonica player Toots Thielemansand pianist Esbjörn Svensson (1964–2008)—have allconsciously pushed the boundaries of the genre.Two other names also come up in the conversation:Jaco Pastorius (1951–1987), who revolutionized the bassas a jazz instrument by electrifying it, and Peter Gabriel,the former front man of Genesis, who went on to becomeone of the leading promoters of world music. Tolstoy adds,“Last but not least, there is of course the great Herbie Hancock,who my album Letters to Herbie is dedicated to. Heis one of the last giants from the Miles Davis and John Coltraneera. Even at the ripe old age of 72, he continues tochart new territory in jazz.”The album was recorded in the studio in a merethree days. Before that, however, “We spent many monthspreparing Letters to Herbie.” When Tolstoy says “we,”she also means her record label ACT and its founder SiggiLoch—one of Europe’s premier jazz producers, “who neverforgets any of his artists’ birthdays.” While the house inMalmö is her private world, her family refuge, “ACT is likemy musical family,” she says, smiling.Which is not to imply that she doesn’t talk aboutmusic at home. “My husband has long been a specialsource of inspiration for me—plus, he’s a totally brilliantdrummer.” His music room is in the back left corner of theyard. Rasmus Kihlberg’s sense of rhythm is in demand internationally.“When we tour together—as we did this yearin China, Germany, Sweden and Japan—we take along ideasthat we put into music together,” comments Viktoria.Soon she will be back in the studio recording. “I’mthinking along the lines of a concept album,” she says, notwanting to give much more away than that. “First, I needto get in a huddle with my friends at ACT.” One secret she’shappy to reveal is, “I don’t sing in the shower or kitchen—Ionly sing on stage or in the studio.” In this regard, at least,she sets strict boundaries on her art. Singing in the tub issomething she leaves to her son.The fact that her great-great-grandfather was acertain Count Lev Nikolayevich Tolstoy, better known asLeo Tolstoy (1828–1910), is not something that carriesmuch weight in her life. “It’s wonderful to be related toViktoria Tolstoy likes to have a go at her husband’s drum kitin his music room and enjoy a bit of alone time.such a great writer but I’ve never seen it as a reason to givemyself airs.” She does have a deep respect for the Russiannovelist’s insatiable hunger for freedom and dedicationto the education and socio-political betterment of thepeasants under tsarist rule.Perhaps that perpetual striving for a self-determinedlife is something that she has inherited from LeoTolstoy. However, Viktoria’s illustrious forbear had littletime for the supernatural, so they would probably nothave seen eye to eye on the subject of the ghosts in theMalmö house. She believes that “Benevolent souls inhabitour home and sometimes we hear footsteps in the night,a door will open or a window close.” Which means thatsinger Viktoria Tolstoy is surrounded by good spirits. Andwho wouldn’t want that? //You can listen to a sample of Viktoria Tolstoy’s current albumas part of the <strong>Audi</strong> magazine iPad app.Viktoria Tolstoy on tourTo the audience’s delight, Viktoria Tolstoy performed at the <strong>Audi</strong>Forum Neckarsulm on July 22 as part of her 2012 Letters to Herbietour. She was joined on stage by a number of colleagues, includingthe highly talented pianist Jacob Karlzon. The <strong>Audi</strong> ForumNeckarsulm provides a new home for regional cultural events.Further information can be found atwww.viktoriatolstoy.com.045 / inspire / <strong>Audi</strong> magazine <strong>Audi</strong> magazine / 046
“People engagebetter with somethingthey have helped toshape than withanonymous architecture.”The <strong>Audi</strong> Urban Future Initiative brings together artists, architects,urban planners and scientists to envision the future of urban life andof urban mobility as it might appear in 2030. Dr. Heinrich Wefing,journalist, author and architecture critic, talks about the interaction ofpolitics and architecture, democracy and cities that never stand still.By Katharina Lotter (interview) & Antonina Gern (photos)Dr. Heinrich Wefing had originally intended to followin his father’s footsteps and become an architect. Butafter completing a series of internships, he found he wasreally only interested in the creative side of architectureand felt little inclination to deal with clients, authoritiesand contractors. So he started out studying art history,later adding law, while always retaining his link to architecture.The subject of his law dissertation, in fact, wasparliamentary architecture and how democracy expressesitself through its buildings. Prior to his appointmentas deputy editor of the political section of the Germanweekly newspaper Die Zeit, he worked for many years onthe literary and arts section of the Frankfurter AllgemeineZeitung, where he made architecture and urban planninghis special focus. Dr. Wefing chaired the <strong>Audi</strong> UrbanFuture Summit, as well as the <strong>Audi</strong> Urban Future Award2010 workshop and conference in London and the awardceremony in Venice. He also moderated the Metropolis &Mobility Dialogue of the <strong>Audi</strong> Urban Future Award 2012in Ingolstadt.“Although a city consists of stationary structures, it’s alsomade up of people, and it’s an artifact that’scontinuously changing,” says architecture and culturalexpert Dr. Heinrich Wefing.<strong>Audi</strong> magazine: Dr. Wefing, after chairing the <strong>Audi</strong> UrbanFuture Initiative, what impressions will you takeaway with you?Dr. Heinrich Wefing: First of all, it’s exciting toobserve what happens when architects meet people whobuild cars. It’s taught me so many new things about >>047 / inspire / <strong>Audi</strong> magazine <strong>Audi</strong> magazine / 048
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