in 45 minutes on d, w. get ready for an exciting out until you look surprised. i'm shop number and i'm ready to dive into the house of gentleman to us. you have, you have a one does not do need the support of this card via included in the, on the vehicle despite this process and unexpected size of life enjoyed the . 2 ice and there's 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 probably for the month, if you, i'd really try to play those concepts like my life depended on the

beacon to our lives and was born in iceland, a large remote island in the north atlantic. his musical approach with its individual inflection 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 . 6 bus is always the future, and he's so often been behind the most interesting musical revolutions and music

history. you know, and you know, you couldn't imagine something like this. i can be in the school without the idea of both the reading, the send will be paying $88.00 concerts on his world tour. the that's the goal of the dairy ations. this monumental work, 88 times a thoroughly monumental tour. as well as the recordings for music label deutsch, gramaphone, the deacon, the olive son has found his own approach to box music. in iceland, it bids 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 at certain point. and 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 by but he himself seems to feel very close to him. during our time with reaching green berlin, we retreated to a performance of above 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 and through the incorrect of the beautiful lawyer which through the harmonies of the piece, and i always wanted to pay it on the piano. finally made that dream come true and i make my own arrangements for solar panels. good

. not only does vision go all of sudden give box music, new interpretations. t rewrites it gets 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 . i'm certainly jealous of everybody was german from coming from the same country. i was fucking people so 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's 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 us the idea of interpretive art,

you're taking a message from somebody else and you're making it your own. so it becomes a meeting between you and the creator of that message, whether that's possible or a defender from sort sion pack or whoever. so it's not just box world or by defense world, i am a guest in, but i'm rather making then 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 . he 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 c p minor like the right tons. and if you

know it just goes on and on and a sense of feeling that kind of factory work when you have that kind of find them and, and the thought don't want to bring, you know, to iceland in that sense. and there was a beautiful story about fish track 3 when they actually have a grand piano in the country because of the owner of the fish. and thanks for your loved music, and he wanted the best for his workers. so people could play constance 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 a 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 and trust. i get the

gigs of 39 year old pianist to confidence to trust his own intuition over tradition . it's uh, may be 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 where you, there's really a system and a way of tradition of doing it. there's no, i send the piano school and there's no tradition for that kind of piano playing. and i said, but i'm also, i'm sort of a composer and i compose to myself quite lots. and i'd like to approach music from a composer's perspective, if i can. so i try to, i mentioned the creative process of the composer and to play it from that side.

the jake, mozart, or instance, his low dodge a. tillman, i'm is much loved. but if he can go on a son has no qualms about approaching the piece. mozart compose did 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 cents. hi, a callo created in the moment. wish to come closer of course, but that's, it's like any actor, you know, you can be stuck in the scripts,

you can't 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 and bodies and becomes the empowerment 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 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 s t piece of music paper in front of you, and then to fill that. and then you realize that once you've done writing a little piece of music and you have to decide how that piece should sound, whether it's this temple or that temple, how loud, how soft,

what is the articulation? what does that, what does the everything, if you, how limits, think about this and that when you have to commit to one way with the classical music, it's kind of working against the nature of the music because the nature of classical music on the mazda piece is so that they can be redefined with every new generation and every performer. if people go with even a good deacon, good classical music isn't set in stone times change. people change and so does the music for him. gary and composer, bella bar textbooks, phones are also caught in net flow of change. ringback when he plays music like this, like a folk song, which the protest 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. there's folk songs like this. they can be composed, they can only be created and formed together by generation after generation, after generation of grandmother singing to their children and with this kind of peace, it's so special that this monkey, the fish 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 an online, you know, this is one of the most beautiful folk songs i know. and it's a perfect from back talk because it's just taking this unusual melody and put these

glorious to beautiful harmonies to it. it would you get to something like something very special. you got 2 grandmothers singing to their children who then sing to their grandchildren and get to a chain of experience. 2 the i'll tell you because i've just painted sound good and fox song, i play a nice sunday funk song, which is the most beautiful song they close. and i know it's about, that's like so many i sunday folk songs. 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 may dwell the . there was a musicologist to travel with the country then. so shortly after the 2nd world war and they recorded these farmers who had learned the songs from their mothers and fathers with learned them from their mothers and fathers, as all their icons remember, 2000 songs or something like that. and this one is particularly beautiful. many of them are about printer and the death and darkness, and toast and all the difficult things because life on this island was so impossible. the

music is extreme. another time, as if coming from far away from the floor was also the title of beacon goes to note and that album the coming through on the floor is 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 . everybody, deep inside seems like they are from a far. because we have our own existence and own world in our own mind, but i send is a special price. 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 nice scent 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's dark album. it's on the soft side and it's certainly my slowest and most it's one crew of 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 type. you know, and you know, when you blow into move, you know,

you know. ready ready i said, yeah, i think she, she does those, he gives these pieces this extra musical ideas the to. ready 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 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 closer to before around then you have the real foreground that you really feel painting opens up the sound of the piano should do the same. it should open up and become kind of its own space to invite people to go into it. rather than being in, 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. and the nice thing is that interesting was 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, go 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 as in the name beacon good, all of son is reminiscent of the north 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, the vikings were much bigger culture than that, and they were also vainly through people. but when i was growing up, there was a few vikings in iceland. it was of a rare name that isn't a hack rest of 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, the clips 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 the past 2 years, it looks like friday of a my mother was a she was a piano student when she was pregnant with me and she was actually here in berlin doing her so last exam and university playing a portion of the day 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 that doesn't 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 a steinway friend piano. before they bought apartment, it's a beautiful thing and it's 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 apartment, to a debut with the berlin philharmonic. it's a career trajectory that sounds dream like the past from iceland to the music

world's grand stages did have its hurdles. we can go all of senra members to start being difficult the my process i saw to us, i long, you know, and i once the but i took a different pass on money. i didn't do the piano competitions and i because i really don't spend a month to meet, i don't believe and creatively. and i come come from iceland. so with my talent, i couldn't just didn't call anyone for introductions to anyone else because there was no, i signed a contract on the international scene, there was no, i sent 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 past 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 count the . but i tried to play every concert like it was my kind of get hold you or political along with. if you, i'd really try to play those concepts like my life depended on it, and in no way my life did depend on it. and then finally, finally, finally someone listens to me. if left them, you're asking to see and immediately wanted to support me and decided to invite me to, to play with him while he was contacting. and we did the opening of hotspot concert house in iceland, which is where i record all my cars are coming from albums. i got my budget guy with one contract when i was 32 in the 7 years that have passed since became

good, all of sudden is achieved a lot. he has an unmistakable musical style and an international career. his main source of inspiration, though, is still the country he comes home. i send the i love to put in new york 1st of all because i used to live in both of those cities so they're very close to me. so but what iceland does for me is that it has a solitary quality. 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 the island. and then you have the highlands. and glaciers in the volcano is where you certainly can have houses, but it's very easy to, to just drive for 1520 minutes and be alone with nature and. and that can create a feeling for, for space and for, for life. i think that that, that's becomes

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