Víkingur Ólafsson BACH REWORKS / PART 2

Possessing a rare combination of passionate musicality, explosive virtuosity and intellectual curiosity, pianist Víkingur Ólafsson has been heralded “Iceland’s Glenn Gould” by the New York Times (Anthony Tommasini, August 2017). Before lighting up the international scene in 2016, Ólafsson won all the major prizes in his native country, including four Musician of the Year prizes at the Icelandic Music Awards, and the Icelandic Optimism Prize.

In September 2018 Víkingur Ólafsson released his new album on Deutsche Grammophon, Johann Sebastian Bach, featuring an eclectic selection of the composer’s keyboard works. In an ingeniously woven tapestry of diverse original compositions as well as transcriptions from different eras, Ólafsson’s “inspired playing makes Bach more human than we’ve heard in a long time” (Süddeutsche Zeitung, 2018). The Bach album follows on from the global success (“Breathtakingly brilliant pianist” (Gramophone) of the Philip Glass Etudes, Ólafsson’s debut recording for the label after signing as an exclusive recording artist in 2016.

Víkingur Ólafsson BACH REWORKS / PART 1

Icelandic pianist Víkingur Ólafsson began making his mark on the wider classical music world in the mid-2010s, after winning several major arts prizes in his homeland.
Ólafsson began his studies at home in Iceland, then earned his bachelor's and master's degrees from Juilliard, where his primary teachers were Jerome Lowenthal and Robert McDonald. By 2017, he had premiered five piano concertos, working directly with composers such as Philip Glass, Daníel Bjarnason, and Haukur Tómasson, whose concerto he premiered during the 2016-2017 season. He has also collaborated on projects with visual artists such as Roman Signer and Lillevän, and musicians like Sayaka Shoji, Pekka Kuusisto, and Björk.

Ólafsson's recital programs are thoughtfully assembled, linking music by theme, historical context, tonality, or a combination of elements. That kind of care and insight led him to host a TV series about classical music for the Icelandic National Broadcasting Service entitled Útúrdúr ("Out-of-tune," 2013-2014), and to him being named artistic director of Iceland's Vinterfest, taking over in 2016 from the music festival's founding director, Martin Fröst. Ólafsson is also founder and artistic director of the Reykjavik Midsummer Music festival.

Having by then released three albums on his own, including Schubert's Winterreise with bass Kristinn Sigmundsson, he signed an exclusive contract with Deutsche Grammophon in November 2016. His first release on the label, Philip Glass: Piano Works, appeared in January 2017. Later that same year, he was the featured pianist on Dario Marianelli's score for the Academy Award-nominated film Darkest Hour, about Winston Churchill.  (Patsy Morita)

Jonah Sirota STRONG SAD

Strong Sad is a classical new music commissioning and recording project featuring newly composed elegies for violist Jonah Sirota.  The elegy as a musical form has often found a home in the plaintive middle-register voice of the viola—it tugs, and makes us aware of our inner landscape. On Strong Sad, rather than the big catastrophes, the music will mourn the small, everyday losses. While some of these works may refer to lost friends and loved ones, this project will reaffirm that mourning is too important to save only for funerals, and that sadness, when given a chance to breathe, can be our best path to deep and lasting contentment and joy. The project features new works by Paola Prestini, Nico Muhly, Valgeir Sigur∂sson, Robert Sirota, A.J. McCaffrey, and Rodney Lister, as well as a new work from the duo Mondegreen, and a debut composition by Jonah Sirota.

“Maybe this is the secret chord – that each of us is whole within ourselves, to fully know and sing out our single note, so that we may join the wider chord, the set of strings, so that the sound we make moves and shakes each of us together in a dynamic, terrifying, shivering joy, covering us like light, clinging to us like dark.”  (Wes Sam-Bruce)

I made this album not because I am particularly obsessed with the emotion of sadness, but because I believe in the humanity of every feeling. We can’t have joy without sadness. We can’t be whole without knowing our brokenness. Each of the composers on this record has offered their own beautiful, vulnerable response to a sadness. Let us learn to mourn every day a little. To help heal ourselves, each other, and this world. (Jonah Sirota)