In the six years between And in the Endless Pause There Came the Sound of Bees and Orphée, Jóhann Jóhannsson became a celebrated film composer, earning back-to-back Oscar nominations for his life-affirming score for The Theory of Everything and his ominous, rough-edged music for Sicario. During this time, Jóhannsson continued to work on personal projects including this, his Deustche Grammophon debut. In its own way, Orphée is also a little like a soundtrack: the composer drew inspiration from the story of Orpheus' ill-fated attempt to rescue his wife Eurydice from the underworld, building on Ovid and Jean Cocteau's versions of the tale in his meditations on death, rebirth, and creativity. The Orpheus myth reflected Jóhannsson's life while he worked on the album: his move from Copenhagen to Berlin marked the closing of one chapter in his life and the start of a new one.
Like And in the Endless Pause There Came the Sound of Bees, Orphée is both more intimate than some of his larger works, and immediately recognizable as Jóhannsson's. On "Flight from the City," a gentle but insistent piano motif rises and falls like breath, while strings deepen its sweet ache; layers of counterpoint inspire bittersweet wonder on "The Drowned World"; "Orphic Hymn" showcases the composer's flair for choral pieces, with Paul Hillier's Theatre of Voices performing lines from Ovid's text in Renaissance style; and "Fragment II" offers a brief burst of his grander scale with its ever-widening sea of drones and strings. This piece features Orphée's main motif, an ascending harmonic pattern that also appears on the ghostly "A Song for Europa," which introduces the staticky, numbers station-like recordings that flicker through the album, adding another layer of distance and mystery.
Orphée's studies in change give equal time time to mourning and hope, whether on the spine-tingling "A Pile of Dust" or the way "A Sparrow Alighted Upon Our Shoulder" and "By the Roes, and by the Hinds of the Field" dance between joy and sorrow. Similarly, Jóhannsson makes the album's chiaroscuro qualities explicit on "De Luce et Umbra," where a shadowy, almost subliminal pulse adds tension to the skyward strings, and on the Emily Dickinson-inspired diptych "Good Morning, Midnight" and "Good Night, Day," where subtle transitions evoke standing between ends and beginnings. On Orphée, Jóhannsson expresses the need to let some things and people go to let new ones in with remarkable nuance, as well as the affecting beauty fans have come to know and love.
Track Listings
1Flight from the City
2A Song for Europa
3The Drowned World
4A Deal With Chaos
5A Pile of Dust
6A Sparrow Alighted Upon Our Shoulder
7Fragment I
8By the Roes, and By the Hinds of the Field
9The Radiant City
10Fragment II
11The Burning Mountain
12De Luce Et Umbra
13Good Morning, Midnight
14Good Night, Day
15Orphic Hymn
