Sígildir sunnudagar - Þagnarómur

How can silence be captured? Does it have texture or tone? Does it encompass a single moment - or also what comes before and after? How can it be interpreted musically?

On Silence (Þagnarómur) is the title of KIMI ensemble's concert taking place on November 8th at 16:00 in Norðurljós (Harpa), as part of the Sunday Classics concert series.

The program revolves around the various manifestations of silence in language, culture, and history, with all works composed specifically for the group. Among other pieces, they will premiere two new works by composers Guðmundur Steinn Gunnarsson and Aya Yoshida, each drawing inspiration from Japanese poetry and philosophy, where silence - the unspoken - holds great weight.

ABOUT THE WORKS

“Tamayura” is the title of a new work composed for the occasion by Japanese composer Aya Yoshida. The piece is based on an 8th-century Japanese love poem centred on the eponymous concept of “tamayura,” which refers to a fleeting moment or sound that vanishes in an instant - almost as soon as it appears. It describes the delicate sound of pearls touching, but can also refer to the elusive emotions that arise in a fleeting moment, yet linger and prove difficult to grasp. Yoshida uses the characteristics of individual speech sounds to create texture and plays specifically with the unique Icelandic linguistic phenomenon of “speaking on the ingress” (inhalation). Additionally, KIMI’s percussionist, Katerina, will perform on her instruments using traditional Japanese brushes.

Silence can be said to be a core motif in the work of Danish composer Jeppe Ernst. Most of his pieces are silent and could best be compared to dance works or performance art, while still rooted in the principles of musical composition. The silence in his works often becomes charged with tension, and the movements can appear mechanical - despite being deeply human. In the piece “Bønnebog” (Prayer Book), the performers stand side-by-side, moving only their heads and faces. Sudden movements and sharp jerks of the head build this tension, evoking associations with various communication patterns and all the non-verbal expressions that take place in daily life. The work may also recall a religious ceremony - the silence of a house of prayers.

The piece “Facing the Forests” by Israeli composer Udi Perlman was premiered by KIMI near the end of 2025 and is now performed for the first time in Iceland. The title references the novel of the same name by author A.B. Yehoshua, telling the story of a young Israeli historian working as a forest ranger who discovers that the forest he oversees was planted on the ruins of a Palestinian village. Perlman’s work reflects the denial of Palestinian history by Israeli authorities, which is characterised by a striking silence.

Guðmundur Steinn Gunnarsson bases his piece “Original Face” (Upprunalegt andlit) on a 13th-century Japanese poem by Dōgen Zenji, translated by Árni Björn Árnason. In it, he instructs the musicians to use their entire bodies, performing with their hands, feet, and mouth. This reflects the five “Skandhas” - or aggregates - which, according to Buddhism, form the foundation of the self.

The concert is generously supported by the Styrktarsjóður Samtaka um tónlistarhús og Ruthar Hermanns.

Duration: approx. 70 minutes, including interval.

Ticket price:

3.900 kr. - General admission

2.500 kr. - Senior citizens, students, and persons with disabilities