![\"johannsson.jpg\"](\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2021\/04\/johannsson.jpg\")
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Looking around at the weekend for J\u00f3hann J\u00f3hannsson concerts turned up a few freely available recordings plus a two-hour mix by the composer that I hadn’t come across before. I must have about three quarters of the J\u00f3hannsson discography on disc by now but a handful of rarities remain stubbornly out of reach. Discoveries like this help me resist the temptation to consider spending \u00a3150 on a secondhand copy of End Of Summer<\/em>, a CD\/DVD recording of a J\u00f3hannsson collaboration with Hildur Gu\u00f0nad\u00f3ttir and Robert Aiki Aubrey Lowe. Given J\u00f3hannsson’s reputation, and that of Hildur Gu\u00f0nad\u00f3ttir who worked with him on other albums, I’d be surprised if some of these scarce recordings weren’t reissued eventually.<\/p>\n KEXP<\/a><\/strong> (2010). FatCat Podcast #66\u2014The Miners’ Hymns<\/em> live at Winter Gardens<\/a><\/strong> (2012). FACT Mix 527<\/a><\/strong> (2015). KEXP<\/a><\/strong> (2016). Electronic Explorations 461<\/strong><\/a> (2017). Previously on { feuilleton } Looking around at the weekend for J\u00f3hann J\u00f3hannsson concerts turned up a few freely available recordings plus a two-hour mix by the composer that I hadn’t come across before. I must have about three quarters of the J\u00f3hannsson discography on disc by now but a handful of rarities remain stubbornly out of reach. Discoveries like … Continue reading “J\u00f3hannssonia”<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"New blog post: J\u00f3hannssonia","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[7,3,20],"tags":[11345,4943,339,11349,11347,10081,11351,7864,1820,11353,4313,11346,11350,11352,7237,2274,11348,5596],"class_list":["post-20506","post","type-post","status-publish","format-standard","hentry","category-film","category-music","category-science-fiction","tag-acme-string-quartet","tag-alex-harvey","tag-bill-morrison","tag-david-munrow","tag-gloria-coates","tag-hildur-gudnadottir","tag-jacques-brel","tag-johann-johannsson","tag-john-boorman","tag-kevin-cole","tag-meredith-monk","tag-mihaly-vig","tag-mohammad-group","tag-mort-schuman","tag-robert-aiki-aubrey-lowe","tag-scott-walker","tag-witold-lutoslawski","tag-wordless-music-orchestra"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pq7rV-5kK","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/20506","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/comments?post=20506"}],"version-history":[{"count":0,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/20506\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/media?parent=20506"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/categories?post=20506"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/tags?post=20506"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\nJ\u00f3hannsson with the Acme String Quartet in a 36-minute session for the Seattle radio show. The ensemble perform five pieces which include a version of Flight From The City<\/em> six years before its appearance on the Orph\u00e9e<\/em> album. Also two compositions that are only available on singles or compilation albums, Tu Non Mi Perderai Mai<\/em> and Corpus Camera<\/em>.<\/p>\n
\nThe Miner’s Hymns<\/em> was a score for a Bill Morrison documentary about the mining communities of North East England for which J\u00f3hannsson used a range of brass instruments like those found in colliery bands. This is a live performance of the entire score by the Wordless Music Orchestra that accompanied a screening of the film in New York.<\/p>\n
\nLinked here before, a 55-minute mix which includes a number of unsurprisingly sombre orchestral selections from Mihaly Vig, Gloria Coates and Witold Lutoslawski, together with two pieces by Meredith Monk. The latter point the way to the Monk-inflected vocalisations on the score for Arrival<\/em>.<\/p>\n
\nA 50-minute session on video which includes more selections from the Orph\u00e9e<\/em> album. During the discussion interlude with Kevin Cole, J\u00f3hannsson talks about his soundtrack work, including his score for Arrival<\/em>.<\/p>\n
\nA two-hour mix which repeats some of the FACT mix\u2014Lutoslawski’s Funeral Music<\/em> was evidently a favourite\u2014and which also shows J\u00f3hannsson’s sense of humour. Of all the many pieces he might have chosen by the early music historian David Munrow, the two recordings that open and close this mix are from Munrow’s unreleased score for John Boorman’s Zardoz<\/em>. Then a third of the way through there’s an abrupt transition from the droning doom of Sakrifis<\/em> by Mohammad to Au Suivant<\/em> by Jacques Brel, a song better known to Scott Walker and Alex Harvey listeners in its Mort Schuman translation, Next<\/em>.<\/p>\n
\n\u2022 Last and First Men<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"