Þráinn Hjálmarsson, composer

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Þráinn Hjálmarsson, composer



On the orchestral work "Perpendicular / Slightly tilted" (2017):

"One rarely hears such focus as in the ”one-idea” works by Þórunn Gréta Sigurđardóttir and Þráinn Hjálmarsson. […] Þráinn’s Perpendicular/Slightly tilted (2016) was an ebbing and flowing of earthy, breathy ”chords” or pulses characterised by sand-paper being rubbed on flower pots. The single, simple feldmanesque idea is to play with the ever-so-slight imbalancing of variation and repetition"

- Lauri Supponen, Mustekahla - Kulttuurilehti, Februar 2017.

On the string trio "Lucid / Opaque" (2016):

"Lucid/Opaque [...] contained beautiful meditative stillness; a glacial gravitas unfolding on the knife-edge of complete silence."

- Gavin Gamboa, I care if you listen, Februar 2016.

On the orchestral work "As heard across a room" (2014):

"...ambient, tuneful and dreaming"

- Jónas Sen, Morgunblaðið in April 2016 [Icelandic]

"Fascinating and enchanting!"

- Rolf Kyburz, Bachtrack in October 2015
English version available here.

"Thrainn Hjálmarsson’s As Heard Across a Room is similarly finespun, but more fun: sounds of somebody sorting through a cupboard, gently clattering about."

- Kate Morrisson, the Guardian in October 2014

On the work "Influence of buildings on musical tone" (2013):

"The work by Thrainn Hjalmarsson for six performers, Influence of buildings on musical tone was enthralling. […] The music was composed of tastefully interwoven noises and unclear tones. The total outcome resulted in an highly ambient and beautiful sounding colors that were charming."

- Jónas Sen, Fréttablaðið in February 2016

On the work "MMXIII" (2013):

"Introvert, a bit ambient, beautifully made, [and] delicate."

- Jónas Sen, Fréttablaðið in February 2013

On the solo viola work "Persona" (2015):

"Þráinn Hjálmarsson's "Persona" [...] was very much a highlight for me, a quiet piece (performed by Kristin Þóra Haraldsdóttir on viola), though not shy or reticent.

It comprised a palette of squeaks, creaks, gestures, whispers and whistles drawn from the instrument, spaced among silences, and periodically coalescing into a moment of melody. These kind of strategies are familiar to me, and were well used here.

Though too much sound would have drowned it out, a little ambient background noise tended to fit into the piece nicely. Though I don't remember it during Persona, the quiet sound of (I'm guessing) the venue, St Andrew's', bells added to a couple of the works."

- Santiago's dead wasp blog in April 2014

On a concert by Dogstar Orchestra focused on animated scores by members of S.L.Á.T.U.R collective:

“The Icelanders are into updating music based on flamboyant graphic notation, which was at the heart of much American and European avant-garde music in the ‘50s and '60s. […] The players followed the moving lines and spheres and other geometrical shapes in a variety of ways. It was fun to watch. It was more fun not to look at the screen and wonder about the sounds. […] each of the Icelandic composers had a fresh approach, kept it simple, strange and surprising — and short."

- Mark Swed, L.A. Times in June 2014

On Thranophones

Article on Thranophones in the Wired from 2012.


Lab it up! - Article by Haukur S. Magnússon in Reykjavík Grapevine on LornaLAB.


Um verk Magnúsar Pálssonar, Kúakyn í hættu - Grein í DV [Article in Icelandic].