We had the pleasure of interviewing Gabríel Ólafs over Zoom video!
Lullabies soundtrack the most formative season of our development. For centuries, parents have hummed them to children as either a salve to ease stress, a natural aid to trigger sleep, or a simple reminder that all will be well in the world once morning comes. Imprinted upon our memories and carried within our hearts for lifetimes, we pass them from one generation to the next. Icelandic composer and artist Gabríel Ólafs continues this tradition on his 2023 album, Lullabies for Piano and Cello [Decca Records US]. After generating over 100 million streams for his original instrumental compositions and earning widespread international acclaim, he summons the spirit of timeless Icelandic lullabies with a twist of his own magic.
Gabríel’s uncanny melodic sensibility has elevated him to the forefront of contemporary classical music. Following years of writing and performing, he gained international renown with Absent Minded in 2019 followed by Piano Works a year later, hailed by PopMatters as “a testament to the power of melody and mood.” 2022’s Solon Islandus marked his debut for Decca Records US, Atwood Magazine described standout track “The Drifter” as “beautifully tender and achingly visceral.”
On Solon Islandus, he effectively traced a creative roadmap through Iceland’s artistic and cultural history in order to gain a deeper understanding of its conscious and subconscious impact on his own persona and vision. In particular, he leaned on the writing of renowned Icelandic poet Davíð Stefánsson, drawing inspiration from his body work and absorbing its spirit in the album.
Beyond his own family experiences, he recalled hearing of a famous book entitled Icelandic Folk Songs. Originally published in 1906, this out-of-print tome collated various folk numbers and lullabies with rare sheet music. At the suggestion of a friend, Gabríel found a copy. He decided to not only reimagine five of the book’s tunes, but to also pen five of his own lullabies as an homage and response to tradition.
Accompanied by cellist Steiney Sigurðardóttir, the duo tracked the album in Reykjavik’s Eldborg Concert Hall. Following the implementation of choir, orchestra, and cinematic heft on Solon Islandus, Gabríel made a conscious decision to strip the sound down to just these two instruments. As opposed to electronics, multi-tracking provided expansive flourishes. Together, Gabríel and Steiney unlocked a striking sound reliant on their quiet chemistry and a rich connection.
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