Name: Direct From Factory Windbells
Brand: Gudmundsson / Reykjavik Chamber Orchestra
SKU: SK0112327-US20260105-083122
Availability: InStock

DISC: 1

1. Entropy for Flute, Clarinet, Cello, Piano~I. Arrow of Time

2. Entropy for Flute, Clarinet, Cello, Piano~II. Asymmetry of Time

3. Lux for Flute, Electronics

4. Equilibrium IV: Windbells for Bass Flute, Bass Clarinet, Cello, Guitar, Piano, Electronics~I. Agitated

5. Equilibrium IV: Windbells for Bass Flute, Bass Clarinet, Cello, Guitar, Piano, Electronics~II. Funeral in a Deserted Church

6. Equilibrium IV: Windbells for Bass Flute, Bass Clarinet, Cello, Guitar, Piano, Electronics~III. Wind Interrupt

7. Equilibrium IV: Windbells for Bass Flute, Bass Clarinet, Cello, Guitar, Piano, Electronics~IV. Foreign

8. Brot for Flute, Clarinet, Violin, Cello, Double Bass, Electronics~I. Ostinato

9. Brot for Flute, Clarinet, Violin, Cello, Double Bass, Electronics~II. Intermezzo I

10. Brot for Flute, Clarinet, Violin, Cello, Double Bass, Electronics~III. Chorale

11. Brot for Flute, Clarinet, Violin, Cello, Double Bass, Electronics~IV. Intermezzo II

12. Brot for Flute, Clarinet, Violin, Cello, Double Bass, Electronics~V. Danse Macabre

13. Songs From Hávamál II for Flute, Piccolo, Oboe, Cor Anglais, String Quintet, Piano, Mezzo-Soprano~I. Ungur var eg fordum

14. Songs From Hávamál II for Flute, Piccolo, Oboe, Cor Anglais, String Quintet, Piano, Mezzo-Soprano~II. Mildir, fræknir

15. Songs From Hávamál II for Flute, Piccolo, Oboe, Cor Anglais, String Quintet, Piano, Mezzo-Soprano~III. Vodir mínar

16. Songs From Hávamál II for Flute, Piccolo, Oboe, Cor Anglais, String Quintet, Piano, Mezzo-Soprano~IV. Hrörnar _öll

17. Songs From Hávamál II for Flute, Piccolo, Oboe, Cor Anglais, String Quintet, Piano, Mezzo-Soprano~V. Lítilla sanda

More Info:

“The title piece, Equilibrium IV: Windbells, was the seed this whole album grew from. It was premièred under rather unusual circumstances at the 2005 World Expo in Japan in a venue that more closely resembled a stadium than a concert stage for classical music. I was an integral part of the performance due to the interactive electronics in the piece. We had practiced that I would maintain eye contact with the musicians during performances, just a few meters from the stage. However, the mixer I was operating at the concert was housed in something that resembled an air traffic control tower some 100 meters away from the stage. Or at least it felt that way. From my perspective, the musicians were like tiny ants in one corner of the enormous stage and they could not see me at all. Despite these outlandish circumstances, we somehow managed to perform the piece. It has since become one of my most performed chamber pieces and has received several awards and recognitions. It has never been recorded in a studio up until now. So, after a recent performance with Reykjavík Chamber Orchestra, where it received very warm reviews, we decided it was time to do something about it. That snowballed into what is now this album…” (Hugi Gudmundsson)