The recently discovered instrument called Lokkur can be traced to Icelandic settlers in the United States of America in the early decades of the 20th century. Lokkur — which can be described as a hybrid of the Icelandic musical instrument Langspil and a spinning wheel — was considered to be “a woman’s instrument”, perhaps due to its similarities to the latter.
In the summer of 2015, the Lokkur was exhibited for the first time at Árbær Museum. The exhibition was a part of Reykjavík Arts Festival.
Other selected performances:
Hugarflug -- A Conference on research within the Arts hosted by the Iceland Academy of the Arts. March, 2017. Variations II by John Cage -- with Lilja Ásmundsdóttir playing Hulda. View an excerpt here.
Skálholt Summer Concerts, July 2016. Works by Berglind, Þórunn Gréta Sigurðardóttir and Karólína Eiríksdóttir.
The 2016 Nordic Music Days. A symposium on the origin of Lokkur including performances of works by Karólína Eiríksdóttir and Þórunn Gréta Sigurðardóttir. Participants: Bryndís Björgvinsdóttir folklorist, Karólína Eiríksdóttir composer, Guðmundur Steinn Gunnarsson composer, Berglind Tómasdóttir musician and Hallveig Rúnarsdóttir singer. Moderator: Elísabet Indra Ragnarsdóttir musicologist.
Hugarflug. Conference hosted by the Iceland Academy of the Arts. 2014.
Arts and Audiences. An internordic conference. Harpa, Reykjavík. 2014.
The Caravan Concerts
The Dark Music Days Piece
The Dark Music Days Piece was commissioned by The Dark Music Days, and performed during the opening of the festival in 2015. The performance was a live radio broadcast performed in front of an audience in Harpa. The event was an open invitation to participate in a collaborative composition written during the first half-hour of the opening reception followed with a performance of the piece. During the festival, the score was exhibited in Harpa.
Do you love genuine talent? New music? And are you a fan of talent shows as well? Then you’re in the right place.
In Jaðarber Got hæfileikar the amazing musiciansTinna Þorsteinsdóttir, Grímur Helgason and Kristín Þóra Haraldsdóttir will expose their true talent and compete amongst themselves. Throughout the competition they will show their skills by performing tender melodies, participating in ensemble playing and doing neat cover versions. Clearly, the best one will win, or more precisely: which one of them is the most holistic musician?
The judges are all amazing people: Atli Ingólfsson, Halla Oddný Magnúsdóttir and Elísabet Indra Ragnarsdóttir. Also, you dear reader, can influence the results of the competition by showing up.
Our host is the one and only Guðmundur Felixson.
The performance was created within YRKJA, a career development program for new composers managed by the Iceland Music Information Centre and sponsored by the City of Reykjavík and The Icelandic National Broadcasting Service.
Author: Berglind María Tómasdóttir
Elskarðu sanna hæfileika? Nýja og krassandi tónlist? Og fílar líka keppnir? Þá er Jaðarber Got hæfileikar eitthvað fyrir þig.
Í hæfileika- og tónlistarkeppninni Jaðarber Got hæfileikar stíga hæfileikabúntin Tinna Þorsteinsdóttir, Grímur Helgason og Kristín Þóra Haraldsdóttir á stokk og etja kappi hvert við annað. Keppendur munu spreyta sig á ólíkum tjáningarleiðum tónlistar, allt frá færni í því að galdra fram viðkvæmnisleg sóló til krassandi samleiks og með því að töfra fram heillandi ábreiðu á dægurlagi. Sá besti eða sú besta mun klárlega vinna; hvert þeirra er besti heildstæði tónlistarmaðurinn?
Dómarar eru ekki af verri endanum enda allt þunga- vigtarmenn á sviði tónlistar: Atli Ingólfsson, Halla Oddný Magnúsdóttir og Elísabet Indra Ragnarsdóttir. Einnig getur þú, lesandi góður, haft áhrif á niðurstöðu keppninnar með því að mæta.
Kynnir er hinn eini sanni Guðmundur Felixson.
Verkið er unnið undir formerkjum YRKJU, starfsþróunar- verkefnis Tónverkamiðstöðvar fyrir ný tónskáld, og nýtur styrkja frá Reykjavíkurborg og Tónskáldasjóði RÚV.
Höfundur: Berglind María Tómasdóttir
Practicing Ferneyhough In Harpa
In the Fall of 2014 I practiced Cassandra's Dream Song by Brian Ferneyhough in the open space of Harpa Concert Hall, an hour every day for a month. Later I released the recordings from all the hours spent practicing Ferneyhough in Harpa.
The piece has been exhibited/performed twice; at Orangerie, Darmstadt on August 10, and at Mengi, Reykjavík on November 20.
See photos from the events at Darmstadt (photos: Bonnie Lander) and Mengi, Reykjavík (photos: Hrafn Ásgeirsson) below.
Below is the original Darmstadt Piece.
The piece consists of dozens of miniatures by many people, including Peter Ablinger, Lars Petter Hagen, Anna Thorvaldsdottir, Martin Hiendl, Rachel Beetz, Bonnie Lander, Ken Ueno and Wojtek Blecharz.
I'm an Island
Excerpts from I'm an Island by Berglind Tómasdóttir. The premiere took place February 24, 2012 at UCSD, CPMC Theatre. The show included a video done in collaboration with Frankie Martin entitled Flute and Red Nails. Furthermore, a new instrument had its premiere that night -- an instrument built by Joe Mariglio and Berglind.
Performers: Berglind Maria Tómasdóttir, flute, voice, hrokkur, Adam Goodwin, bass, Leah Bowden, drums, Phil Skaller, keyboard. Filmed by Frankie Martin.
By Frankie Martin and Berglind Tómasdóttir. 2011 In their collaborative sound and video work, Flute and Red Nails, Frankie Martin and Berglind Tómasdóttir explore the compositional and sonic limitations of the flute. Employing a new extended technique, Tómasdóttir improvised a variety of different sounds on the instrument, including kissing, scratching, tapping and sliding red nails on a variety of flutes, and creating so-called whistle tones – made by blowing gently into the mouth hole. Martin later reformed the composition while editing the video, splicing in different improvised sections throughout and creating a new piece from the components performed during the original shoot. Beyond simply critiquing the nature of flute composition, Martin and Tómasdóttir’s collaboration examines the gender dynamics at play in contemporary music, particularly with regard to the roles of performer and composer. Martin and Tómasdóttir’s exploration of the female position in contemporary music performance and composition employs tropes of feminine beauty in order to reclaim something particularly gendered as a symbol of femininity. Playing into current debates over the status of feminism, particularly those surrounding post-feminism, anti-feminism and the third wave, this explicit choice to make use of the gendered status of cosmetics allows these women to secure the position of the female composer and performer evoked by the explicit requirement for red nails on flutes. (text by Emily Goodman)
Composed by Clinton McCallum (2013). Performed by Berglind Tómasdóttir and Leslie Leytham. Costumes by Leslie Leytham. Videography and editing by Frankie Martin. Boom by Tanner Cook. Audio Re-mastering by Clinton McCallum.