Fridrik Orn Sigthorsson

27.04.26
The Hall in Kopavogur


Performers

Anna-Maria Kahilainen – Flute

Berglind María Tómasdóttir – Bass flute and piccolo

Sölvi Kolbeinsson – Alto Saxophone

Kjartan Hugi Rúnarsson – Tenor Saxophone

Tumi Árnason – Tenor Saxophone

Tumi Torfason – Trumpet

Anna Wieland – Accordion

Magdalena Lorenz – Violin

Maximiliane Norwood – Violin

Fridrik Orn Sigthorsson
BA Instrumental Composition

Bassist and composer Friðrik Örn has extensive experience in the Icelandic music industry, being an active member of various projects across musical styles, such as the rock band Hyl, Kári Egils' band, the prog-rock band Project Reykjavík and Matthías Helgi Sigurðarson's jazz trio. In addition, he has performed with various musicians from all over the industry, such as Jónfrí, Rebekka Blöndal, Ara Árelíus and Frumburður.

Friðrik began studying bass at the FÍH music school in 2017 but soon transferred to MÍT, where he studied bass under the guidance of Birgir Bragason and Þorgrímur Jónsson as well as additional studies in rhythmic singing under the guidance of Jóhanna Linnet. Friðrik has been busy writing songs and lyrics since his teens, but at MÍT he had the opportunity to try his hand at arrangements and develop his compositions further.

He found this to be an exciting platform for him, and after graduating, he enrolled in composition studies at the Icelandic Institute of Music. There he studied first under the guidance of Páll Ragnar Pálsson and then Bergrún Snæbjörnsdóttir. During his studies at the Icelandic Institute of Music, Friðrik has rapidly moved into more experimental music and has managed to develop his own style, which could be described as a dark, mysterious, multi-layered world characterized by attempts to stretch the traditional soundscape of instruments.

About the work

Awaive
Floating effortlessly, head sticking out. 

The rhythmic kicks seem ineffective, standing still.

The jaw splits the surface, rushes forward, the carcass pursues.

Awaive is basically a reflection on the boundaries between improvisation and composition. 

The musical notation gradually dissolves, until nothing remains but the intuition of the performers.