the musicians under the swastika, a documentary about this sounds of power, inspiring story about survival of the home and go get the tennis. i was the only one who lives in nazi germany. watch now on youtube dw documentary, the . 2 i send is a specialty. so what i sent us for me is that it has a solitary for let's say the i tried to play every concert like it was my kind of get hold. thank you or butler 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 bus is always the future. and he's so often been behind and most interesting musical revolutions in music history. you know, and you know, you couldn't imagine something like this. i can be in the school without the idea

of off the deacon. the sun will be paying 80 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 labeled do it you gramma, phone the dig into all of sudden his found his own role approach to box music in iceland, a bid for the bus through 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. that's 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 by but he himself seems to feel very close to him. during our time, we can go in berlin. we retreated to a performance of a box 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 . this is basically the inversion 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 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 finally made that dream come true. and i make my own arrangements or solar panel. good . not only does vision to own of sun give box music, new interpretations cube,

rewrites it each, the treatment of boxes 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 papers and 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 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 defendant from sort sion pack or whoever. so it's not just bucks world or bay 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 . 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 by, by the p minor, like the right time. and the piano just goes on and on. and it's sites with

a feel of this kind of secretary work when you have that kind of find and, and the thought don't want to bring back, you know, to iceland in that sense. and there was a beautiful story about fish tuck 3 when they actually had a grand piano in the country. because the owner of the fish likes or loves the 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, and 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, transfigured the

way it gives us 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 excellency piano school. there's no tradition for that kind of piano playing and i sent, 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, is low. doj tillman, i'm is 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 hi, a color created in the moment with the come closer of course, but that's, it's like any extra, 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

bodies and becomes the embodiment 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 overnight. 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 love that along with 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 finish 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 is the articulation? what does that, what does the, everything you feed, 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 piece is so that they can be read defined 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. and gary and composer been a bar talk, spoke songs are also called to net flow of change when he plays music like this, like a folk song which is about to test the transcribed so beautifully. i think you go into something very special. you go into the collective experience of a lot of people,

a nation or society that is folk songs like this. they cannot be composed, they can only be created and formed together by generation extension. ready and after generation of grandmother singing to their children and with this kind of peace, it's so special that this monkey the 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 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 the 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 so i'm going to have fox song. i play a nice sunday funk song, which is the most beautiful i saw on the 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. she will be under

that tonight ground. he will no longer be a life. it's called where life and death may dwell. ready 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 learns and from their mothers and fathers, as all the icons remember, 2000 songs or something like that. and this one is particularly beautiful. many of them are about from there and to death and darkness, and toast and all the difficult things because life on. ready island was so impossible. the

music is just from another time. as if coming from far away from a store was also the title of beacon good to know to me. it 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. are you able to put any 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 case and this helps them. 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 the very front of the 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 to certain kinds of hearing. it's dark problem. it's on the soft side and it's certainly my slowest and most of the trunk, real problem. 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 moon talk, you know, you know. ready ready i said, yeah,

i think she, she does those, he gives these pieces this extra musical ideas. ready the to 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 play the piano, i think ideally you should have many different layering stuff 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 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 device and it's very interesting with distance because we don't have almost any 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 to all of sun 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 did 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 very literary people. but when i was growing up, there was a few vikings in iceland, it was of a rare name. that 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, the 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 coolest 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 because like friday of a, my mother was uh, she was a piano student when she was pregnant with me. and she was actually a here in berlin. uh, doing her sellers ex, um, and university playing a portion of the bike bay 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. and i chose 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 the apartment. so 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 path 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 fund the but i took a different pass on money. i didn't to was appealing competitions and i because i really don't fundamentally, i don't believe in them creatively. i come come from iceland. so with my talent, i couldn't still call anyone for introductions to anyone else because there was no, i signed a contract on the international scene. there was no, i sunday is almost 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 account the i tried to play every come so like it was my kind of get a hold they've, you or political along with, if you, i'd really try to play those concepts 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 is less than they were 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 concert house in iceland, which is where i record all my. those are coming from albums. i got my budget got off on contract when i was thought to, to 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 send the i love to put into 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. 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 the island. and then you have the highlands and the glaciers and 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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the this is due to the news life from berlin. israel's prime minister, as, as the war and gaza would be over any time to benjamin netanyahu, visits troops and gaza, and says, is really military operations. there will only intensified incoming dates. also coming up kremlin critic, alexia vonnie is finally located within 2 weeks after associates lost track of having to bonnie spoke 1st and says he's currently in