Anton Sanko was born and raised in New York City. He attended NYU, where he studied music theory and composition by day and played in downtown Manhattan's new wave clubs at night, majoring in music theory and composition in 1983, and in addition studying guitar and composition with Ralph Towner. He played with avant-garde acts such as Shox Lumania and Our Daughter's Wedding.

After his work with Suzanne Vega, he produced and played for artists like Anna Domino, Jim Carroll, Lucy Kaplansky and Skeleton Key, appearing in works by Percy Jones, Kashif, and Sonny Okosun.

After working with Suzanne Anton Sanko decided then to pursue a lifelong passion - scoring for film. He has since scored over 25 films. Amongst them are "Saving Face", "Party Girl" and cult favorites "Strangeland" and "Scotland, Pa.". More recently he completed scores for Tom DiCillo's "Delirious", Alex Steyermark's comedy "One Last Thing", and Larry Fessenden's horror-thriller "The Last Winter".

Anton Sanko joined the Suzanne Vega band as a replacement to Peter Zale, for the final leg of 1985's "Suzanne Vega" tour. He toured with Suzanne Vega in 1986, and was part of the band that recorded "Solitude Standing" (1987), being credited in some songs, and doing the subsequent world tour.

In 1989 Anton Sanko recorded and co-produced "Days of Open Hand" (1990) with Suzanne Vega, being again credited for some of the songs. Once again he toured promoting the album, being also Suzanne Vega's musical director. He played classical guitar in the live performances of "Cuba" (future "Room Off The Street")

How did it happen that you joined the Suzanne Vega band?

Photo by Ben Caswell

I had a number of friends who worked on Suzanne's first album. Lenny Kaye I had known for years since I had played in a band with his wife while still in college. I also had known Jon Gordon for quite a while through mutual friends. And finally, Mike Visceglia and I had been playing in another band together at the time that the position of keyboard player had opened up. I was asked to audition by providing an arrangement for "Luka". What, according to you, did your way of playing bring to the live performance of Suzanne's songs? I saw my job as keyboard was to provide all the parts that were not covered by the bass, drums or guitar. Anything from marimbas to electronic textures. I was not much of a soloist.

What are the characteristics of Suzanne's music that attract you the most, both as a musician and as a listener?

When I first heard Suzanne, I was deeply struck by her sense of harmony and space. I loved her arrangements and the timbre of her voice. Later, I began to appreciate the depth of her lyrics.

What are your main music influences, and musicians you look up to? Influences? Aarvo Part, György Ligeti, Stockhausen, Ralph Towner, Bernard Hermann, Jerry Goldsmith, Nino Rota, Ennio Morricone, Henryk Górecki, Morton Subotnick, David Sylvian, Peter Gabriel. Apart from playing with Suzanne, which are the other projects, you have been participating in, that you're more proud of? Aside from my work with Suzanne I am quite proud of my scores for "Saving Face", "Delirious"and "Scotland, Pa."