Pianist Tinna Thorsteinsdóttir leads audience to the diverse sound worlds of the standard piano and toy piano, where the two instruments are examined and balanced in a conversation of some sorts. Performing works for both toy piano and standard piano by composers such as Einar Torfi Einarsson, Hallvardur Ásgeirsson, Haukur Thór Hardarson, Ingibjörg Fridriksdóttir, Thórunn Gréta Sigurdardóttir and Páll Ragnar Pálsson. Special guest performer: Frank Aarnink, percussionist.
Northern Lights Hall in Harpa Music Hall, Sunday February 1st 2015 at 4pm
Piano vs. Toy Piano at DMD15
PROGRAM
o Ingibjörg Fridriksdóttir: Útvarpssaga (2015) (WP)
o Ingibjörg Fridriksdóttir: Muschine (2015) (WP)
o Einar Torfi Einarsson: Negative Dynamics II: entangled strata (2014)
o Einar Torfi Einarsson: Theory-Fiction I: non-corresponding variance (2015) (WP)
o Haukur Thór Hardarson: Önnur athöfn (2014/15) (WP)
o Hallvardur Ásgeirsson: Miniature #3 (2010)
o Hallvarður Ásgeirsson: Toccata #1 (2013)
o Thórunn Gréta Sigurdardóttir: Ástund (2015) (WP)
o Páll Ragnar Pálsson: Nyctophilia (2015) (WP)
About the works:
Negative Dynamics II: entangled strata is an exploration of physicality, materiality, notation and entanglements. The pianist is asked to perform a simple action: silent depression with an immediate violent release. This action becomes modulated by several entangled free-floating strata that affect the speed of the action, the number of fingers involved, and the spread and position of those fingers. The performer engages – becomes entangled – with an activity that does not revolve around sound but around the impossibility of silence and the physical nature of both the piano and performance.
Negative Dynamics II: entangled strata is dedicated to Tinna Thorsteinsdóttir.
Theory-Fiction I: non-corresponding variance is an exploration of physicality, materiality, notation, micro-space and their entanglement with imaginary elements. The toy-pianist is never asked to directly depress the keys but rather asked to gently and lightly, but with vigilance and intensity, touch the keys. The result is a very quiet piece on the edge of audibility but nevertheless very loud in its own way. Physical movements locked within certain spatial dimensions gain foreground and are continuously awkwardly positioned – an activity that is supported by imaginary accompaniment in the form of time-based graphical music. This piece is a form of experimental music embracing the unknown results of a counterpoint between something actual and something imaginary.
Theory-Fiction I: non-corresponding variance is dedicated to Tinna Thorsteinsdóttir. (ETE)
Nyctophilia: A preference for darkness or night. (PRP)