Sveinn Luðvík Björnsson

Dark Music Days 2019: Icelandic Guitar Trio

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On Wednesday, the Dark Music Days moved out of Reykjavík to the arts centre of Hafnarborg in the neighbouring town of Hafnarfjörður, where the Icelandic Guitar Trio – Þórarinn Sigurbergsson, Þröstur Þorbjörnsson and Svanur Vilbergsson – gave a recital featuring three native works alongside music from the UK and USA.

The Icelandic pieces shared a general tendency towards the conservative and traditional. This was most demonstrably the case in Fimm Skissur [Five Sketches] by Hildigunnur Rúnarsdóttir, composed in 2016 but only now receiving its first performance. Everything about it felt rooted in convention, from the fast-slow alternations of its movements to the language of its lyricism, which veered between cheerful Classical simplicity and a more intricate Baroque tendency. The piece was most interesting in the two slow movements where the music sounded least like an exercise in pastiche. The Andante won me over due to the fastidiousness of its counterpoint, which proved hypnotic, while the Lento exhibited a soft delicacy that was particularly lovely at its dying away conclusion. The rest was simply too generic and impersonal to make any kind of meaningful connection. Ari Hálfdán Aðalgeirsson‘s Gaia, another première, was also characterised by fastidiously-composed material, as if each and every note had been positioned and aligned with the greatest care – though never sounding remotely finicky or theoretical. The piece was occasionally a little withdrawn and perhaps a touch backward-looking, but its lightness was very attractive, as was the nicely unpredictable waywardness it exhibited, which kept sidestepping one’s expectations. Read more

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Dark Music Days 2019: Dúplum Dúó

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Tuesday evening at the Dark Music Days brought Dúplum Dúó – comprising soprano Björk Níelsdóttir and violist Þóra Margrét Sveinsdóttir – to the somewhat lugubrious setting of Iðnó, one of Reykjavík’s many bars and cafés that also serve as concert spaces. Þóra Margrét didn’t get much of an opportunity to let rip in the recital, while Björk’s voice was mesmerising and often surprisingly powerful, yet it was the understated theatricality of her performance that proved most telling.

Despite the brevity of the four premières they performed, some of them made for a frustrating experience. Sveinn Luðvík Björnsson‘s setting of Shakespeare’s 39th sonnet, consisting of a few half-hearted viola bleats either side of an entirely spoken recitation of the text, almost sounded like the work of a complete musical novice (though hearing Shakespeare recited with an Icelandic accent was admittedly rather lovely). Sóley Stefánsdóttir‘s Parasite should have included electronics but I learned afterward that these had been removed at the last minute – which perhaps explains why the music had sounded provisional and insufficient. Aart Strootman boldly took on the challenge of setting Baudelaire. In many respects his Flowers of Evil nicely captured the atmosphere of the text, in conjunction with a tape part conjuring up a kind of dreamy reverie with clear underlying passion. The piece was undoubtedly overlong and became monotonous in its latter half, though the way Strootman introduced ferocity and a distinct acidic quality at the work’s end – nicely alluding to the bitterness and desperation implied in the poem – made for a superb conclusion. Read more

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