i send this a specialty so what i sent us for me is that it has a solitary policy. the i tried to play every concert like it was my kind of get hold. thank you or below for the month. if you, i'd really try to play those concepts like my life depended on the beach and the older son was born in iceland, a large remote island in the north atlantic. his musical approach with its individual infection was born in this isolation. how has he managed to catch the year of the entire world of class school music as he did on his world tour with johann sebastian bach, goldberg, variations,

the bus is always the future. and he's so often been behind and the most interesting musical revolutions in music history. you know, and you know, you couldn't imagine something like this. i can be a new school without the idea of pass the v e s, and will be paying 80 concerts on his world tour. the that's the gold, the variations. this monumental work, 88 times a thoroughly monumental tour. as well as the recordings for music labeled deutscher gramaphone, the deacon, the olive son,

has found his own wrought approach to box music in iceland to bid for the bus thrown, extolled one, usually reserved to music critic. when people are moving music in a radically forward momentum, they so often rely on the foundation of bar. so this was also just to play on that . the bar is kind of like shakespeare. and then we all have to, you know, if you're a riser, you have to face shakespeare a certain, find them if you're a musician, the same applies to bar as good . we can go older, son is the phenomenon is iceland to comb. seems far removed from boss, but he himself seems to feel very close to him. during our time with reaching green

berlin, we retreated to a performance of a file in sonata in his own arrangement. for can the how many musicians would even attempt such an uninhabited approach to such a musical legacy. good fish, especially the vinyl motion and then goes on with this and repeat address some of this kind of feeling for stability and meditation. i always thought this piece was incredible because of that some of the trends that brings you into, through the repetition of service, i'm going through that incorrectly beautiful lawyer which through the harmonies of

the piece, and i always wanted to pay it on the piano. and finally made that dream come true and i make my own arrangement for solar panels. good . not only does vision go all of sudden give box music, new interpretations. you rewrites it. it's a treatment of box originals that speaks of confidence in his own inner freedom of freedom that may well come easier to someone, relatively unburdened with centuries of box tradition. good

. and i'm certainly jealous of everybody was german from coming from the same country. i was fucking page, you know, but i think that, well, going back to the vikings, you know, they're, they're mortgages and they, they, they travel the world to, to, to, to bring a message, whatever the messages and i have that in common with them. and i think that when it comes to giving and taking that is the idea of interpretive art, you're taking a message from somebody else and you're making it to your own. so it becomes a meeting between you and the creator of that message, whether that's possible or a defender from so it shouldn't tackle whoever. so it's not just box world or by defense world. i am a guest in, but i'm rather making them to some degree a part of my world as well. the v can just listen, feels enough at home in box music to tell stories from his own home country with it

takes us to iceland coast and one of the many fish factories. this story is about the quiet daily lives of the people here. and about how boss changes their life, the likely repetition of that piece or by boss c. p minor like the right time. so i don't know if you know, it just goes on and on. and it's such a feeling, this kind of factory work when you have that kind of fund i'm and, and that's why i don't want to bring you know, to iceland in that sense. and there was a beautiful story about fish tuck 3 when they actually have a grand piano in the come teen. because of the owner of the fish tanks or your loved music. and he wanted the best for his workers, so people could play concepts there and play during the factory hours. i liked that so much and you know, in those factories,

people are always listening to music and some of them are actually listening to box . so i thought this is playing loud and logical and i wanted to actually tell a little short story and that so you know, and it's a story about a man who changes life in a certain spot in the music where things really are transformed, transfigured the gigs of 39 year old pianist to confidence to trust his own intuition over tradition . or it's uh, maybe part of that is because i don't come from a country of that kind of tradition of that. let's say the russian piano school or

something like that to where you, there's really a system and a way of tradition of doing it. there's no incentive piano school. and there's no tradition for that kind of piano playing nice and, but i'm also, i'm sort of a composer and i compose to myself quite a lot. and i'd like to approach music from a composer's perspective, if i can. so i tried to imagine the creative process of the composer and to play it from that side. the jake, mozart, or instance, his low, dodgy domino as much loved. but if he can go on a sun has no qualms about approaching the piece. mozart composed it for soprano, an orchestra, v can go as now arranged for piano as he plays it, everything sounds free, spontaneous as if he were improvising the melody,

the i tried to go deep enough for the music, so that a fence higher color created in the moment wished to come closer of course, but that's, it's like any extra, you know, you can be stuck in the scripts, you can be when you're on stage. you can't, people can't be thinking about the script while you're on stage. they have to think about the message and the extra bodies and becomes the employment of that message. and that should be the same with the pianist or whoever is playing the music from 200 years ago. you should become that message. it doesn't happen over night. you know, it's not like you take freedom or decides to do something free. freedom is not something you decide. it's something that grows and comes from intense living in the music and with the music. that was a little bit of lost in the 20th century. and i,

i left, i love that fact it's actually, and when i'm talking to young people today, i always encourage them to write, to feed what it seems like to have an f t piece of music paper in front of you. and then to from that. and then you realize that once you've done writing a little piece of music and you have to decide how that patient sound, whether it's this temple or that temple, how loud, how soft, what does the articulation? what does that, what does the, everything, if you, how limit thing about this, and that when you have to commit to one way with classical music, it's kind of working against the nature of the music because the nature of classical music on the mazda pieces is so that they can be redefined with every new generation and every performer, if people go to even a deacon, good classical music isn't set in stone times change. people change and so

does the music for him. gary and composer been a bar talk, spoke phones are also caught in that flow of change. ringback when he plays music like this, like a folk song, which protests transcribed so beautifully. i think you go into something very special. you go into the collective experience of a lot of people, a nation of society. because folk songs like this. they cannot be composed but can only be created and formed together by generation i sent you under. ready and after generation of grandmother singing to their children and with this kind of piece, it's so special that this monkey, the

kid is always stopping and starting and stopping. and it's so clearly like language like sentences, you know, speaking and telling a story. where do we go? we go into, we go to hungry, but we go to hungry, created in our minds. you know, this is one of the most beautiful folk songs i know. and it's a perfect from about talk because it's just taking this unusual melody and put these glorious to beautiful harmonies to it. but you get to something like something very special. you got to grandmother's singing to their children who then sing to their grandchildren get to a chain of experience. 2 the

i'll tell you, because i've just painted some kind of fox, i'll tell you an ice thunder function, which is the most beautiful. i salt lake folks, and i know it's about this like so many i suddenly folksongs. so it's about the old farmer who is sewing seats into the ground and contemplating that when the seats will have grown. he will be under that tonight ground. he will no longer be a life. it's called where life and death made well good . ready there was a musicologist to travel with the country then. so shortly after the 2nd world war and the record at these farmers who had learned the songs from their mothers and

fathers with learned them from their mothers and fathers, as all the icons remember 2000 song. so something like that. and this one is particularly beautiful. many of them were about from there and to death, and darkness, and toast and all the difficult things because life on this island was so impossible. the music is just from another time, as if coming from far away from afar was also the title of beacon good to know to miss out on the coming through the floors. how he feels. boy, in 39 years ago, he grew up in iceland and there in the piano, eventually graduating from the julliard school in new york. mm

hm . are everybody deep inside seems like they are from far. because we have our own existence in our own world in our own mind. but i send is a special case. and this album, it's a little bit about my home country about my childhood growing there, which is different from growing up in berlin or london or most go in new york or somewhere else. you know, it's an especially and i sent in the 1990s. i'm born in 1984, so i remember the time before the internet and before you tube and before everything. so it was a very private place. and i wanted to try to capture some of my memories on this album. this album is mine a photo album. it's almost done to for my childhood. and it's music that often has

a certain kind of hearing it start problem. it's on the soft side and it's certainly my slowest and most of the trunk really help them. it's my album of tonight, not 10 of them. but my knock turns are by proof tact. this piece is cold harmonica. so it's like moon top, you know, and you know, when you blow into the house, you know, you know. ready ready etc, etc. and she, she does, but i think gives these pieces this extra musical ideas the, the

i love everything i play on the piano and the piano for me is the greatest instrument when it's played in a certain way, which creates this kind of feeling for search dimensionality. space in the sound. so when you pay the panel, i think ideally you should have many different layering of, of color and texture. and that should be like a 16 century landscape painting where you really have the distance and then you have something close as before. around then you have the real foreground that you really feel painting. opens up the sound of the pianist. you do the same and you open up and become kind of its own space to invite people to go into it. rather than being in your face presentation,

the v can go and have sensors. he proceeds piano, playing in terms of space, is a 3 dimensional expansion. how has iceland influence to this perception, or more specifically, the atlantic landscape? i do think in terms of distance and sound under the ice and it's very interesting with distance because we don't have almost the entries so. so you just go up on one of those hills, you know, in the south west of the country, you know, and up to 300 meters and then just look around and you see like in men's amount of land. and you can see souls far and you actually get that feeling. so perhaps that

has become part of me. i don't know the . ready age and the name region to own of son is reminiscent of the noise of iceland land if the vikings almost domestically charged. but the artist himself has an ambivalent relationship with his 1st name. i used to hate my name because i hated the idea that it wasn't a viking because i thought the vikings were not good people. and i thought, you know, they're known for stealing and talking and killing and maybe raping and doing all the bad things. and i didn't like the idea of sailing around north atlantic ocean and, and doing whatever the hell he wanted to do. but of course die and the vikings were much bigger culture than that. and they were also very literary people. but when i was growing up, there was a few vikings in iceland, it was a very rare name. and isn't i aggressive name? and some people think it's even a fake name. it's my stage name,

but that's not the case. but the name actually has a beautiful story. it comes from my grandfather beacon good who was born prematurely out in a snowstorm. and his mother sat there for the child survives, i'll name him by king reeking good because he's because he's strong. and you know, he was one of the 1st likings actually in iceland to have that name. it hasn't been used for 5 or 600 years in the country before 1924 when he was born. and now it's becoming a function name. unfortunately. that's but it's uh, yeah, it's as large as it, as it gets. but i tried to remind myself that the vikings were literary and musical, and they knew how to make great cheese and some drink good wine. so there we are a beacon good who lives and hasn't only been shaped by iceland culture. his family has been just as important and the foundations were late early in his childhood

home. i think my customers because like friday of, uh, my mother was, uh, she was a piano student when she was pregnant with me and she was actually here in berlin. uh, doing her solos ex, um, and university playing a portion not that i paid to find and shop having all these things with me. 6 months i think the pregnant was inside her. the keys were here so absolutely makes sense to the keys. so i like the idea of that, does it have any choice? i have no idea, but there was music in my home. and i think one of the most important moments in my musical life happens before i was born. it was the fact that my parents spent all of their money and even took a loan to buy steinway piano before they bought the apartment. so beautiful thing and is a crazy economic decision from them. but so we had an amazing new steinway model,

be in my living room in this tiny basement that we lived in the 1st 7 years of my life, where i shared the room with my 2 sisters and the piano was the apartment, the from basement a pardon, into a debut with the berlin philharmonic. it's a career trajectory that sounds dream like the path from iceland to the music world . strand stages did have its hurdles. we can go all of senra members to start being difficult. the my process. i saw it was a long you know, and i once the but i took a different pass on money. i didn't to was appealing competitions and i because i really don't spend a month to meet, i don't believe and create to me and i come come from iceland. so with my talent,

i couldn't still call anyone for introduction to anyone else because there was no iceland to contact her on the international scene. there was no iceland excel noise anywhere on the international scene. there was no one to introduce me to a management. so i felt it was a very slow pass, the slowly but steadily things began to look up as a pianist with a holy professional attitude from the very start. he made every concert and every single note account the but i tried to play every come, so like it was my kind of get hold. thank you or butler for the money. thank you. i really try to play those concerts like my life depended on it. and then the way my life did depend on it. and then finally, finally, finally, someone listens to me,

have left them there asking to see and immediately wanted to support me and decided to invite me to, to play with him while he was conducting. and we did the opening of hotspot coast of house in iceland, which is where i record all my budget coming from albums or i got my budget. i wasn't contract when i was 32 in the 7 years that have passed since we can go out of son is a chief to lodge. he has an unmistakable musical style and an international career . his main source of inspiration, though, is still the country he calls home. i spent the last part and then new york 1st of all because i used to live in both of those city so they're very close to me . so but what iceland does for me is that it has a solitary quality. um and i think it comes from the fact that it's a very sort of relatively pick island for very few people. so you have

a lot of space, a lot of land and a lot of nature from a few inhabitants because you can only live on the circle of islands and then you have the highlands and glaciers and then okay, notice where you certainly can have houses. um, but this are easy to, to just drive for 1520 minutes and be alone with nature and. and that can create a feeling for 1st space and for, for life. i think that that that becomes a part of you the the

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