Tracklist

I. Internal Human
II. Stills
III. Shadow of a Voice
IV. Spiders Draw Lines Between My Thoughts
V. And For A Moment I Can Travel With The Elements…
VI. The Creatures Within

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1 Ad genua (Guðrún Eva Mínervudóttir (b. 1976)) 10’38
Þorkell Sigubjörnsson [1938-2013] 2 Heyr, himna smiður (Kolbeinn Tumason (ca. 1173-1208)) 2’59

Tryggvi Baldvinsson [b.1965-] 3 Hallgrímur Pétursson (1614-74) 1’46

Hjálmar H. Ragnarsson [b.1952-] 4 Ave Maria (Luke 1: 28, 42) 3’44

Anna Thorvaldsdóttir [b.1977-] 5 Heyr þú oss himnum á (Ólafur Jónsson á Söndum (1560-1627)) 4’16

Sigurdur Sævarsson [b.1963-] 6 Magnificat Luke 1: 46-55 6’09

Atli Heimir Sveinsson [1938-2019] 7 Haustvísur til Máríu (Einar Ólafur Sveinsson (1899-1984)) 3’20

Jón Ásgeirsson [b.1928-] 8 Hjá lygnri móðu (Halldór Kiljan Laxness (1902-98)) 3’14

Snorri Sigfús Birgisson [b.1954-] 9 Afmorsvísa 1’39

Jón Leifs [1899-1968] 10 Hinsta kveðja for strings Op. 53 8’34

Sigurdur Sævarsson [b.1963-]

Requiem Mass for the Deadworld première recording
11 I. Introit 4’48
12 II. Kyrie 4’04
13 III. Sanctus 3’19
14 IV. Benedictus 4’15
15 V. Agnus Dei 4’04
16 VI. Lux æterna 2’58
17 VII. In paradisum 4’25

Sigur Rós [b.1988-] 18 Fljótavík for strings 4’20

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Moonbow is Gunnar Andreas Kristinsson’s second album, the first to be released on a major label. The music, performed by leading members of the Icelandic contemporary music scene, was recorded in Kaldalón and Norðurljós, the two recital halls of Harpa Reykjavik Concert Hall. While Gunnar’s first album, Patterns, contains pieces from his study and freelance years in The Hague, MOONBOW is a selection of more mature works from a fruitful period in the composer’s life after moving back to Iceland in 2009, with all the experience from the Netherlands in his pocket. The album features a trio, a quartet and a quintet, flanked by two larger ensemble pieces. The works are diverse, not only in terms of instrumentation but also in terms of musical subject and give a good insight into Gunnar’s distinctive and personal sound-world.

Tracklist

1. Sisyfos [18:06]

2. Patterns IIb [11:39]

3. Moonbow [15:32]

4. PASsaCAgLia B [6:41]

5. Roots

I. [4:09]

II. [3:32]

III. [2:48]

Total Time [62:32]

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Exploring the DNA of my artistic development, I‘d say there are two major factors that have influenced me. One of them is to have been born in Iceland, growing up in a protected environment that leaves one with the feeling (or illusion) that one is free to do anything he wants. Then again moving to Estonia to study composition made me re-evaluate my perceptions on life and art so far. The brisk salty breeze of the ocean got replaced by scent of burning wood rising from the chimneys of old houses near the forest and the playful indie scene of Reykjavík by sophisticated academic concert life in ancient churches and guildhalls of Tallinn. It was the environment where I found my musical language, plunged into East-European art and history, travelled and made friends, connected deeply with the spiritual approach Estonians have to music and their somewhat ancient character. One of those old souls I got to know is my wife Tui who sings on this album. Our singer-composer collaboration started right away and has tied together our professional and personal lives in an especially fulfilling way.

The compositions on this album illustrate the shift of us moving back to Iceland and continuing life there with a new perspective. The oldest piece on the album was composed in 2011 when we lived the slow-paced life of young parents in the countryside-like outskirts of Tallinn whereas the latest piece was composed in Iceland and premiered in Berlin 2018. The texts chosen for the compositions demonstrate my influences during the time quite appropriately. Stalker, Tarkovsky‘s famous screenplay from where I borrowed the monologue, was shot in Tallinn and cleverly displays references to Estonia‘s troubled history. Wheel Crosses under Moss contains excerpts of folk hymns from Vormsi, an island off the West coast of Estonia once inhabitated by Swedes, until the whole community was evaquated in fear of the Soviet Army. Other texts are by Icelandic artist and poetess Ásdís Sif Gunnarsdóttir, whom I have collaborated with on numerous occasions. In the album‘s title-piece poem, Atonement, Ásdís Sif sensitively describes a feeling of re-connecting with herself and finding inner peace. The word itself – atonement – indicates my approach to composition in music and life.

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