{"id":19433,"date":"2023-08-09T17:20:43","date_gmt":"2023-08-09T15:20:43","guid":{"rendered":"https:\/\/pureaudiorecordings.com\/?post_type=product&p=19433"},"modified":"2024-09-20T20:50:00","modified_gmt":"2024-09-20T18:50:00","slug":"reykjavik-chamber-orchestra-hugi-gudmundsson-windbells","status":"publish","type":"product","link":"https:\/\/pureaudiorecordings.com\/en\/product\/reykjavik-chamber-orchestra-hugi-gudmundsson-windbells\/","title":{"rendered":"Reykjavik Chamber Orchestra, Hugi Gudmundsson – Windbells"},"content":{"rendered":"

The title track Equilibrium IV: Windbells was the seed from which this whole album grew. It was premiered under rather unusual circumstances at the 2005 World Expo in Japan in a hall that looked more like a stadium than a classical music concert stage. Because of the interactive electronics in the piece, I was an integral part of the performance.<\/p>\n

We had practised that I would keep eye contact with the musicians only a few metres from the stage during the performance. However, the mixing desk I operated during the concert was in something resembling an air traffic control tower, about 100 metres from the stage. At least that’s what it felt like. From my perspective, the musicians were like tiny ants in a corner of the huge stage, and they couldn’t see me at all.<\/p>\n

Despite these unusual circumstances, we somehow managed to perform the play. Since then, it has become one of my most played chamber pieces and has received several prizes and recognitions. Until now, it has never been recorded in a studio. After a recent performance with the Reykjav\u00edk Chamber Orchestra, where it received very good reviews, we decided it was time to do something. This album developed out of that.<\/p>\n

Equilibrium IV: Windbells is the oldest track on the album, spanning seventeen years of my career. Looking back on this composition now, I almost feel like I’m back in that surreal air traffic control tower in Japan. I can also see early patterns in this relatively early piece. Patterns that run through the whole album. There are the contrasts of Crumb, the meditativeness of Messiaen and the atmospheric dramaturgy of my uncle and great musical influence Hafli\u00f0i Hallgr\u00edmsson.<\/p>\n

There are many other influences and I have long since given up hiding them or being ashamed of them. On the contrary, I find it fascinating how one composer can plant a seed that germinates in another composer. It is a process that is as organic and natural as life itself.<\/p>\n

– Hagi Gudmundsson (Composer)<\/p>\n

Tracklist:<\/strong><\/p>\n

ENTROPY (2019)
\nFlute, Clarinet, Cello, Piano
\nI. Arrow of Time
\nII. Asymmetry of Time (Hommage \u00e0 Olivier Messiaen)<\/p>\n

LUX (2009\/2011) Flute, Electronics<\/p>\n

EQUILIBRIUM IV: WINDBELLS (2005)
\nBass Flute, Bass Clarinet, Cello, Guitar, Piano, Electronics
\nI. Agitated
\nII. Funeral in a Deserted Church
\nIII. Wind Interrupt
\nIV. Foreign<\/p>\n

BROT (2011)
\nFlute, Clarinet, Violin, Cello, Double Bass, Electronics
\nI. Ostinato
\nII. Intermezzo I
\nIII. Chorale
\nIV. Intermezzo II
\nV. Danse Macabre<\/p>\n

SONGS FROM H\u00c1VAM\u00c1L II (2014\/2021)
\nFlute\/Piccolo, Oboe\/Cor Anglais, String Quintet, Piano, Mezzo-Soprano
\nI. Ungur var eg for\u00f0um
\nII. Mildir, fr\u00e6knir
\nIII. Vo\u00f0ir m\u00ednar
\nIV. Hr\u00f6rnar \u00fe\u00f6ll
\nV. L\u00edtilla sanda<\/p>\n