Park Avenue Armory - Mostly Mozart

I had such a wonderful time in NYC with ICE last week when we gave a concert at the Lincoln Center's Mostly Mozart Festival at the Park Avenue Armory. The pieces on the program were, Shades of Silence, into - Second Self, & In the Light of Air. It was so great to work with ICE as always, and the staff at the Armory was amazing. I am also very thankful for the number of writings about the concert that followed - here are some quotes and links, and some pics from the event as well.

Photo © Richard Termine

New York Times
"Ms. Thorvaldsdottir’s music has a natural beauty to it in the way it reveals itself patiently, and in its unpredictable but organic-seeming instances of rhythmic quickening." Corinna da Fonseca-Wollheim

Photo © Richard Termine

New York Classical Review
"On Tuesday evening in the Park Avenue Armory’s Board of Officers Room, the International Contemporary Ensemble (ICE) played an all-Thorvaldsdottir program as part of the Mostly Mozart festival, and it was one of the most involving and affecting concerts in several years... The concert, augmented by her recent recording Rhízoma (Innova), left a strong impression that Thorvaldsdottir has a notable compositional voice: her unique ability to manipulate her material so that the passage of time is made beautiful." George Grella

Photo © Richard Termine

Classical Voice North America
"Here is a composer with a distinctive sound world, and the ability to choose, from a wide textural palette, the most apt instrumental effect for a given moment. Yet, unlike some who toil in the au courant genre of the soundscape, she also knows how to build and sustain tension and convey emotion while evoking the vast sweep of the ages." Barbara Jepson

Photo © Richard Termine

Feast of Music
"Thorvaldsdottir’s music itself was overwhelmingly beautiful and huge in scope. Her slow tempos draw easy comparisons to the vast sonic landscapes of John Luther Adams, and the constantly evolving cadential figures bring to mind the dense polyphony of Béla Bartók's string quartets, with their scratched notes and bows across the bridge." Robert Leeper