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Anna Thorvaldsdottir

Publisher: Chester Music

Chester Music Ltd
Year Composed
13 Minutes
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Programme Note
Anna Thorvaldsdottir AERIALITY (2011)
Preview the score:

  • 01 FEB 2020
    Tambora; Giuseppe Spota, Choreography
    Staatstheater / Mainz / Germany
    Philharmonisches Staatsorchester Mainz
    Hermann Bäumer, conductor

    Other Dates:
    8,15,30 December 2019; 2,8,12,17,21 January - Staatstheater / Mainz / Germany
  • 08 FEB 2020
    Royal Concert Hall, Nottingham
    Iceland Symphony Orchestra
    Yan Pascal Tortelier, conductor

    Other Dates:
    9 February - Theatre Royal, Norwich
    10 February - Cadogan Hall, London
    11 February - Symphony Hall, Birmingham
    14 February - The Anvil, Basingstoke
    15 February - Town Hall, Leeds
    16 February - Usher Hall, Edinburgh
    13 February - St David's Hall, Cardiff
  • 14 MAR 2020
    Zeiterion Theater, New Bedford, MA
    New Bedford Symphony Orchestra
    Yaniv Dinur, conductor

'Aeriality' is a broad tapestry in which each instrument does its own thing on its own terms, contributing to the swirling stasis of the bigger picture … in this piece we also hear Thorvaldsdóttir expanding her language in the direction of quarter-tones and noise music while pushing the idea of a single monolith to breaking point as her characteristic pedal notes creak under the weight of the machinery they support.
Andrew Mellor, Gramophone,01/01/2019
Anna Thorvaldsdottir’s masterpiece Aeriality had the most magnetic and profound effect of all the music played, inducing a rare, extended silence in the cavernous Royal Festival Hall after its final notes had died away.
Andrew Mellor, Finnish Music Quarterly,05/10/2017
From the sinister first bar through to the glorious dissipation sound into silence at the end, Aeriality is spellbinding, the vast structure of the piece grasping the ear and demanding attention.
Dominic Lowe, Bachtrack,30/09/2017
In Aeriality, sounds bend and warp without rest over the 13-minute composition... The piece asks that the orchestra ride through moments of sweetness and austerity in a spectrum of timbres occasionally reminiscent of a whale’s muted croaks and the growling earth.
Jennifer Gersten, Bachtrack,27/05/2017
Thorvaldsdottir uses the orchestra to create a voluminous cloud of sound that grows, swirls and thins out in a haze shimmering with microtonal dissonances. Metallic percussion instruments add sputters and sparks. Toward the end, the music pools into consonance in a way that viscerally evokes a clearing of the air.
Corinna da Fonseca-Wohlheim, New York Times,21/05/2017
...Thorvaldsdóttir’s score evolves slowly, deliberately, in a constant surge of sound.
Bruce Hodges, New York Classical Review,20/05/2017
Aerality leans on sustained notes, yet its sonorities are so alive with ever-changing instrumental filigree that it simultaneously achieves a state of stasis and of transformation.
Alex Ross, The New Yorker,01/05/2017
It’s a striking piece of music, with a distinct and original style...the warm radiance of the strings a delightful textual contrast to earlier chilliness. Thorvaldsdóttir’s deployment of percussion that is often conversational against the low rumble of the strings is deftly done.
Dominic Lowe, Bachtrack,21/04/2017
This is a big spinning planet of a work that, to echo Whitman, contains multitudes of ideas within itself, pregnant with promise from the opening whipcrack of percussion and major-key chord that keeps reasserting itself as tendrils of other sounds curl off it like smoke.”
Anne Midgette, Washington Post,28/11/2014
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