Jóhann Jóhannsson - By the Roes, and by the Hinds of the Field (Cello & Piano) /

Jóhann Jóhannsson - By the Roes, and by the Hinds of the Field (Arr. For Cello & Piano)

By the Roes, and by the Hinds of the Field appears on the first album by Jóhann Jóhannsson for Deutsche Grammophon. Orphée features a kaleidoscopic array of instrumentations, from string quartet to electronics and choir, drawing from the Icelandic composer’s minimal, serene style to produce a focused, postmodern foray into atmosphere and myth.

In a statement to The A.V. Club, Jóhann Jóhannsson said:

The title, “By the Roes, and by the Hinds of the Field” is from “The Song of Songs”. Taken as pure literature, it’s my favorite part of the Bible, easily its strangest and most beautiful book. It’s really a pagan erotic poem, like a conversation between two lovers. The title is a plea for the poet’s lover not to be awakened, but to awakened from death or from sleep is left ambiguous. The poem has a certain voluptuousness and the spirit of overflowing, luxurious nature, but also a sense of deep melancholy. This connects it to my album Orphée’s central conceit, which is Orpheus’s eternal search for his dead lover and his divinely sanctioned, but ultimately doomed mission to retrieve her from Hades.

*Jóhann Gunnar Jóhannsson (1969 – 2018) was an Icelandic composer who wrote music for a wide array of media including theatre, dance, television, and films. His work is stylised by its blending of traditional orchestration with contemporary electronic elements.

Jóhann released solo albums from 2002 onward. Some of his works in film include the original scores for Denis Villeneuve's Prisoners, Sicario, and Arrival, and James Marsh's The Theory of Everything. Jóhann was nominated for an Academy Award for Best Original Score for both The Theory of Everything and Sicario, and won a Golden Globe for Best Original Score for the former. He was a music and sound consultant on Mother!, directed by Darren Aronofsky in 2017. His scores for Mary Magdalene and Mandy were released posthumously.

His only directorial work, Last and First Men, premiered two years after his death at the 70th Berlin International Film Festival.


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