Anna Þorvaldsdóttir

Nordic Music Days 2019 (Part 2)

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Being the host nation, music from Norway was especially well-represented at this year’s Nordic Music Days in Bodø. Harnessing the large and impressive organ of Bodø Cathedral, Trond Kverno‘s Triptychon 2 was one of the fieriest things i heard at the festival. We tend to think of toccatas as fast-flowing, though the ones that appeared here were often crushingly strong, to the point that it sounded as if their notes were audibly fusing into dense clusters. Its more ruminative middle movement only made the powerful outer sections sound more assertive, the final movement managing to turn a pedal point into an aggressive surge before letting high notes hang while the pedals became pushy in the depths. And just when it seemed the work couldn’t get any more forceful, organist Gro Bergrabb’s rendition of the final climax was so crashing it practically threatened the integrity of the building. Read more

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Summartónar 2019 (Part 2)

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As i previously remarked, one of the most (and one of the only) disappointing things about my first experience of the Faroe Islands’ Summartónar festival was the almost complete lack of music by Faroese composers. The inclusion of Kristian Blak – artistic director of the festival – mitigated that to an extent, and of course i’m conscious of the fact i only attended six says out of more than 90, but i nonetheless came away with a limited sense of what contemporary music in the Faroe Islands is like. During my time there, the emphasis was on an initiative called North Cultitude 6263; begun last year, it seeks to bring together cultural activities from the countries located at the latitudes of 62-63 degrees. The initiative is not simply about showcasing each other’s work, but also to foster collaboration: Ensemble 6263 is a newly-formed group who, performing for the first time at this year’s festival, included players from Greenland, Iceland, Finland, Sweden, Norway and Russia. The plan is to expand this further until all countries around the world at these latitudes are included.

Some of these performers came from the Icelandic ensemble Caput, who gave a concert of their own in Tórshavn’s Nordic House, a much larger and more lavish counterpart to the one in Reykjavik. i’d been highly impressed by Caput when hearing them in action at the Dark Music Days in January, and while their concert on this occasion was a somewhat more relaxed affair (a free lunchtime event), if anything it proved to be even more involving. This was largely due to the choice of repertoire, Caput bringing together a collection of works that all had a tendency to move slowly and meditatively. To this end, the concert was dedicated to three figures who have died in recent times: flautist Manuela Wiesler, and two Icelandic composers whose music book-ended the occasion and brought to it an intense solemnity. Þorkell Sigurbjörnsson‘s Kveðja, which opened the concert, featured episodes of freedom on flute and viola, flying gently out from a steady rhythmic grounding in the harp. It sounded akin to a processional, but one looking steadfastly up at the sky rather than down at the ground. Read more

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Proms 2019: Anna Þorvaldsdóttir – Metacosmos (UK Première)

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Performed last Monday by an orchestra combining students from the Royal Academy of Music and the Juilliard School, conducted by Edward Gardner, Anna Þorvaldsdóttir‘s Metacosmos is a work i know quite well. Anna and i discussed it at length during our Dialogue together, and i explored the piece further following its first performance in Iceland during the Dark Music Days earlier this year. As i’ve noted on both those previous occasions, the work is somewhat different from most of the rest of her output due to its construction. Instead of opting for her usual kind of convoluted, unpredictable structure, Metacosmos is a complex but recognisable binary diptych, its latter section a refashioned – both shortened and lengthened – version of its former. The two sections are each set in motion via loud accents and a deep drone E, culminating some time later in a B-flat chord after which a melancholic melody emerges (in C-sharp minor the first time and B-flat minor the second time). That kind of structure is interesting in her work for all sorts of reasons, particularly when considering the inspiration for Metacosmos is to do with being “drawn into a force that is way bigger than yourself”, Anna citing the ultimate example of this as a black hole. Read more

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The Dialogues: Anna Þorvaldsdóttir

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i’m excited to present a new instalment in my series The Dialogues. On this occasion, i’m in conversation with Icelandic composer Anna Þorvaldsdóttir, whose music has become increasingly well-known in recent years. In the UK, her work has started to appear with more frequency on concert programmes, and there’s a chance to hear her most recent orchestral work, METACOSMOS, at the Proms over the summer (and a CD including the piece will be coming out around the same time). While her reputation is growing, detailed explorations and studies of her work are pretty scarce, so our Dialogue will, i hope, substantially increase understanding of Anna’s musical outlook, intentions and methods.

We met at her home at the end of November last year, and i want to express my appreciation to Anna, her husband Hrafn, and to their beautiful cat Mosi (who sharp-eared listeners will briefly hear at one point) for their generous time and hospitality. i’m also very grateful to Sam Wilcock at Music Sales for festooning me with assorted scores and recordings to help with my research and preparation for the Dialogue. For more information about Anna’s music, check out her website, she also has a YouTube channel featuring a number of pieces, and there’s plenty available on Spotify.

As in all the Dialogues, i’ve included numerous excerpts of Anna’s music throughout to illustrate and elaborate upon the various topics of our discussion. A list of these excerpts, and the times when they occur, can be found below, together with links to buy the music. The Dialogue can be downloaded from the below link or streamed via Mixcloud. Read more

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Dark Music Days 2019: Sound Mass; Reykjavik Chamber Orchestra

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The final day of Iceland’s 2019 Dark Music Days festival was characterised by a back-and-forth between prosaic and profound. The penultimate concert i attended, titled ‘Sound Mass’, was an extreme case in point. Once again located in Harpa’s Kaldalón Hall, of the three works performed it was hard to do much more than shrug at Þórólfur Eiríksson‘s short electronic work Rafboð [electrical signals]. Though technically a brand new piece, receiving its first performance, it could have been composed half a century ago; not in itself a problem (the composer’s stated aim was to create a “pure old school electronic piece”), but its conveyor belt of ephemeral morsels were of literal passing interest only, superficial shapes that entirely failed to cohere into a meaningful larger whole. At 30 minutes, Circular Flow by Ríkharður H. Friðriksson was a lot bigger but hardly much better. To look at the plethora of pedals and boxes surrounding Ríkharður, processing the output from his pair of guitars, one expected something quite spectacular. Yet what ensued was like a cross between Aidan Baker and Markus Reuter, but lacking the brooding intensity of the former and the passionate, free-wheeling invention of the latter. It was hard to believe such a quantity of technology was required to create such elementary ambient, clichéd plinky-plonk guitar noodling utterly drenched beyond saturation point in reverberation. Circular Flow was far from an unpleasant experience – in fact it brought to mind soaking in the hot pots at the local swimming baths, the deeply relaxing way most of my days during the festival began – but it was impossible to take seriously music that so grandiloquently pretended that meandering was searching, and that artificial reverb and echo were a substitute for genuine profundity and depth. Read more

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Dark Music Days 2019: Iceland Symphony Orchestra; Yrkja

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Judging from the way it’s usually discussed, you’d be forgiven for thinking that – overwhelmingly inspired by the country’s uniquely dramatic combination of earth, water, ice and fire – Icelandic music was all about, and only about, nature. It’s therefore interesting, in hindsight, to note that it wasn’t until the sixth day of the Dark Music Days that the subject of nature even crossed my mind. However, when it finally did, last Thursday evening at the concert given by the Iceland Symphony Orchestra conducted by Daníel Bjarnason, it didn’t merely cross my mind but practically filled it to capacity. Hitherto, my impression of Icelandic contemporary music, irrespective of my opinion about individual pieces, was one of variety, music characterised by diversity and difference. Whereas now, sitting in Harpa’s large Eldborg Hall, hearing five substantial Icelandic orchestral works, i was staggered by their similarities. Textures, textures everywhere.

The archetype for this use of texture was demonstrated with considerable subtlety in Lendh by Canada-born, Iceland-based composer and cellist Veronique Vaka, the first of three world premières in the concert. Her programme note was all about nature, concerned with the sensory impressions of landscape, inspired particularly by the geothermal area at Krýsuvík (in south-west Iceland). In general – the primary aspect of this archetype – perception of the overall mass effect was of much greater importance than individual actions. Thus the orchestra articulated a network of shifting textures punctuated regularly by swells, as if something were churning and bubbling in the music’s depths. This led to the sensation that the orchestra was an organism slowly breathing, ripples running across its surface with such variety of colour and shape and detail it brought to mind (to switch metaphors) the changes in pigmentation on the skin of a chameleon. Music that focuses exclusively on large-scale textural impressions like this can often become drab and unfocused, yet Vaka instilled in Lendh a real sense of pent-up power and potential: its ‘climaxes’ were barely larger than the swells that had preceded them but packed almost the same weight as a full-on tutti due to the palpable implication of what they could unleash if they really wanted to. A striking and lovely piece.

The same couldn’t be said for María Huld Markan Sigfúsdóttir‘s Oceans, also a world première, the ideas of which could have been lifted straight out of a movie. The title of the work – which the composer claims “came early in the process” but just before the festival was still being listed as ‘new work’, so perhaps was more of an afterthought – seemed arbitrary, entirely unrelated to what was essentially a tired exercise in basic, reheated filmic tropes. This was texture at its most ineffectual and clichéd, and while Oceans had its moments – including one where in the midst of a climax the harmony became complicated and briefly clustered – it otherwise lacked any significant memorable ideas. Read more

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Mixtape #53 : Best Albums of 2018

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Happy New Year everyone!

Many thanks to all of you who have read, followed, commented, shared, promoted and otherwise supported the blog during the previous year, most especially to my beloved band of Patrons. i’m starting 2019 in the usual way, with a new mixtape featuring something from each of the brilliant albums in my Best of 2018 list. Being such an eclectic list, the ‘narrative’ of this mixtape is one that unavoidably veers between quite wildly dissimilar styles and aesthetics, but to my ear that only makes it all the more interesting and fun.

40 tracks (well, technically 41: Jóhann Jóhannsson’s were short so i included two) that testify to and celebrate the range and scale of musical wonders created during 2018 – the full tracklisting is shown below, and links to buy each album can be found in the previous two days’ articles. As always, the mixtape can be downloaded or streamed. Read more

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Best Albums of 2018 (Part 1)

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Right, let’s cut to the chase: forget all those other narrow, limited, parochial and partisan Best Albums lists, here’s the only list you need: my round-up of the 40 albums that have charmed, enthralled, awed and amazed me the most during 2018. In case anyone was in any doubt, it’s been a very good year.

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Mixtape #43 : International Women’s Day

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As today is International Women’s Day, for my March mixtape i’ve allowed myself to indulge in a celebration of fabulous music by women composers and musicians. Compared to most of my mixtapes, this was one of the more difficult to create, for two reasons. First, because the shortlist of music i was keen to include wasn’t remotely short, but simply enormous (137 individual tracks, lasting a little over 12 hours), and second, because deciding which of them to omit was tough in the extreme. In the end, though, i found an interesting and, i hope, imaginative way of navigating through such a bewilderingly diverse collection of music. There’s no particular structure to the mix as a whole this time, as i was simply allowing myself to be drawn spontaneously from piece to piece, sometimes smoothly, sometimes breaking things up with non sequiturs.

There’s a not quite even split between instrumental and vocal music, though both of these terms are interpreted pretty eclectically. The latter range across the spectrum of sentiments, from poignant and painful (Brika, Laura Sheeran, FKA Twigs, Galina Grigorjeva, Lori Cullen) to passionate and elated (Anna von Hausswolf, Cocteau Twins, Princess Chelsea, Sleigh Bells, Jackie Trent, Ari Mason, Vanbot, Carice van Houten, Peaches, Trio Mediaeval, Ladyhawke), both of widely varying orders of magnitude, alongside the more reflective (EmikaRóisín Murphy, Demen, Zola Jesus, Nynke Laverman, OY, ionnalee, Robyn) and downright demented (Jennifer Walshe – who else?).

As for the instrumental music, not all of it is non-vocal: the pieces by Gazelle Twin, Lauren Redhead and Annette Vande Gorne occupy an electroacoustic place in between, each utilising voices in different ways. As for the rest, perhaps the most applicable continuum is between strains of agitation and disquiet (Jocelyn Pook, Kristin Øhrn Dyrud, AGF, Copeland, Zeena Parkins, Elizabeth Anderson, Natasha Barrett, Mica Levi, Wendy Bevan, Clara Iannotta, Pauline Oliveros, Rose Dodd, Vanessa Rossetto, Chaya Czernowin, Rebecca Saunders, Arlene Sierra, Galina Ustvolskaya, Line Katcho, Milica Djordjević) and calmer, more measured music (Olga Neuwirth, Linda Catlin Smith, Anna Þordvaldsdóttir, Motion Sickness of Time Travel, Chiyoko Szlavnics, Unsuk Chin, Christina VantzouÉliane Radigue, Delia Derbyshire, Isnaj Dui, Susanne Sundfør).

Elizabeth Parker‘s radiophonic cheerfulness doesn’t qualify as either of those, but then pretty much none of the 60 wonderful pieces i’ve featured on this mix fit neatly within one particular box or label: their inventiveness is boundary-challenging, which makes them ideal for a day like today. Apropos: i’ve ended the mix with a track by Frida Sundemo that beautifully captures a sense of optimism, which i think is also ideal for this particular day; the song’s theme is love, yet its emphasis on ‘flashbacks and futures’ seems an apt phrase for the confident, forward-looking attitude exhibited by all of this music, and which this mixtape celebrates.

The mixtape can be downloaded and streamed below; here’s the tracklisting in full, together with links to obtain each of the albums: Read more

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New (Nordic) releases: Vilde&Inga, Nordic Affect, Trio Aristos, Iceland Symphony Orchestra

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There’s been a number of very interesting new releases recently featuring composers and performers from the Nordic countries. At the most unconventional end of the spectrum are violinist Vilde Sandve Alnæs and double bassist Inga Margrete Aas, a Norwegian duo who perform free-improvised music together as Vilde&Inga. Their new album Silfr, released last month on the experimental Sofa label, features ten pieces that demonstrate the fascinating way the duo utilises their instruments to explore a single idea. This in itself is quite refreshing. So much contemporary music seeks to cram shedloads of invention into even relatively short works that to hear such a single-minded approach as that on Silfr is somewhat novel, even courageous. The most extreme pieces are so unwavering as to seem almost behaviourally solipsistic. ‘Røykkvarts’ (“smoky quartz”) comprises an essentially unpitched texture of assorted scratchings and scrapings – so anonymous it’s hard to tell it’s being executed on string instruments at all – with occasional pizzicato pitches allowed to resonate. Though ostensibly more rapid, ‘Sprø Glimmer’ (“crazy glimmer”) is similar, placing high, unstoppable, glistening arpeggiations against an only slightly less intense tremolando, riddled with overtones, while ‘Aurum’ is located in weak, bleak territory, the instruments barely able to speak to the point that the background ambience becomes a distinct presence in its own right. The title piece is the most immersive of these, setting up a moto perpetuo of tremolandi and ricochets, stretching out notes at various points until the whole thing has its pitch content erased towards the end, culminating in the noise of frantic physical movements. Fantastic. Read more

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Mixtape #36 : Best Albums of 2015

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A very HAPPY NEW YEAR to you all!

In keeping with 5:4 tradition, here’s the new year Mixtape showcasing music from each of my Best Albums of 2015. Three hours that demonstrate something of the sonic wonders that materialised last year. Enjoy! — and there are links to buy each of the albums featured in the last two days’ articles.

As usual, the mixtape can either be downloaded or streamed via MixCloud. Here’s the tracklisting in full: Read more

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Best Albums of 2015 (Part 2)

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* Please note this list has how been superseded by the one on the Best Albums of the Years page *

And here, bringing 2015 to a truly glorious end, is the conclusion of my countdown of the year’s best albums. Read more

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New releases: Gottfried Huppertz, Elliott Sharp, Anna Þorvaldsdóttir, Coppice

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i want to flag up a few more new releases that have recently been tickling my jukeboxical fancy. To begin with, music that’s not remotely contemporary, but which in its own way marks an important contribution to the development of a particular musical strand that began early in the 20th century. Gottfried Huppertz was the composer for two of Fritz Lang’s most impressive films; his 1927 score for Metropolis can be heard as a progenitor of the style and approach that is at the heart of composers like John Williams. But it’s his score for Lang’s massive 4½-hour two-part epic Die Nibelungen, composed three years earlier, that can be heard to contain the quintessence of the movie soundtrack in a startlingly nascent form. In contrast to Metropolis, where mechanistic machinations dominate its narrative, Die Nibelungen is a score rooted deeply in lyrical melodic action. Huppertz’s musical language is sumptuous, echoing the shifting harmonic sensibilities of Richard Strauss, but above all strikingly redolent of the impassioned melodies (and instrumentation) of Scriabin’s symphonies. His approach is essentially leitmotivic, establishing a variety of principal ideas that are continually repositioned and recast in different lights and flavours in response to the events on-screen.
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New releases: Anna Þorvaldsdóttir, Markus Reuter, Ensemble Musikfabrik, Arditti Quartet, Eric Craven, Audiobulb, Zbigniew Karkowski, Nordvargr, Stockhausen

Posted on by 5:4 in CD/Digital releases | 5 Comments

It’s a while since i’ve had a chance to survey new releases, so there’s quite a few that are overdue being highlighted. Some of them appeared on my recent Best Albums of the Year list, such as Anna Þorvaldsdóttir‘s Aerial, out on Deutsche Grammophon. As i’ve mentioned in my previous articles about Þorvaldsdóttir’s work, her overtly elemental music thrives in establishing environments where elements of certainty are both undermined and consolidated. Orchestral work Aeriality is a superbly lucid example of this, a work that seemingly keeps trying to reset itself via strong intervals like octaves, fourths and fifths, which are repeatedly overrun and infiltrated by tendrils of material, leading to fascinating passages of grey, almost blank obfuscation (a Þorvaldsdóttir fingerprint). Much of her work explores this friction between clarity and obscurity, variously weighted, and most of the works heard here begin shrouded in abstraction. But what’s so very refreshing about this is the absence of clichéd value associations: clarity here is no more positive a thing than its opposite. The interest, and it is considerable, lies in the juxtapositions and steady evolutions between states, a connotative mirror—if one wishes to see it as such—of Þorvaldsdóttir’s Icelandic heritage but just as much a liberated celebration of the primordial plasticity of sound. Read more

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HCMF 2014 revisited: Anna Þorvaldsdóttir – æquilibria (UK Première)

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i went to Huddersfield last November not knowing anything about Icelandic composer Anna Þorvaldsdóttir‘s music; two months on, following an HCMF première and a CD release (review coming), that’s happily no longer the case. In many ways æquilibria, the work of Þorvaldsdóttir’s receiving its first UK performance at HCMF, serves as something of a paradigm for her work as a whole. Perhaps unsurprisingly for a composer from a country characterised and constantly being altered by shifting geological activity, her music often avoids concrete statements, preferring the establishment of firmaments, the stability and permanence of which are forever being undermined and questioned. In æquilibria (the title being an archaic plural of equilibrium) this is captured via a series of fundamental pitches—’tonics’ in a post-tonal sense, reinforced by being heard in multiple octaves—over and upon which intricate lines of filigree extend and rival harmonic emphases are brought to bear. As octaves become untenable, other intervals—4ths and 5ths—start to operate as indicators of permanence, Þorvaldsdóttir flirting with conflicting major/minor connotations above them, before threatening these too, roiling low winds at the work’s epicentre leading to a huge surge and ebb, leaving the piece in an entirely unclear state. Read more

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Mixtape #32 : Best Albums of 2014

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HAPPY NEW YEAR everyone!

Many, many thanks to all of you who have followed the blog through the last 12 months, particularly to all those who have commented and tweeted in response or retort. As usual, here’s my new year mixtape featuring a track from all forty of my Best Albums of the Year. i said yesterday how 2014 had been a breathtaking year, and listening to this 3-hour condensed version of its best music, i really think that becomes obvious.

Enjoy! – and assuming you do, please support the artists wherever possible; links to purchase each of the albums can be found on the last two days’ articles.

Here’s the tracklisting in full, followed by the download link; and you can also stream the mixtape via Mixcloud. Read more

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Best Albums of 2014 (Part 1)

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* Please note this list has how been superseded by the one on the Best Albums of the Years page *

And so to the main course: the countdown of my forty best albums of the year; part 2 will follow tomorrow. Read more

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HCMF 2014: Bit20 Ensemble, Cikada Ensemble

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Last night’s and this morning’s concerts had much in common, beginning with nationality, featuring two Norwegian ensembles, Bit20 and Cikada. But beyond this, much of the music in each concert, although stylistically diverse, had a predominant interest in texture as the primary vehicle for their respective endeavours. The results, another aspect in common, were not uniformly successful. Cikada’s account of Jon Øivind NessGimilen, receiving its UK première, could hardly have been more rigorous and purposeful, yet neither of these epithets seemed qualities of the music itself. In many ways the piece is an 18-minute tutti, with minimal instrumental differentiation, all players working toward the same communal end. Which appears to be a series of episodes, characterised by distinct patterns of behaviour, some involving steady changes in tempo, one sounding like a torrent of Shepard tones. That makes them sound more engaging than they really were; their cycles felt hollow, a literal going through the motions, and the Stravinsky-like conclusion made one realise how much the piece seemed to be ballet music. Perhaps something visual would have filled in the blanks left by the music. Read more

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