Dybfølt and their piece Prelude is a reinterpretation of a composition by Carl Friedrich Abel, an 18th-century composer, originally written for the viola da gamba, a seven-stringed instrument allowing for smooth arpeggios.
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Kirstine Elise Pedersen and Mathæus Bech seem like people who view and hear the world through a different kind of filter. Not through glass, not through air, but perhaps through water or ice. Prelude is less of a composition and more of a landscape, and in this landscape, there’s too much Nordic melancholy to just pass by without giving yourself over entirely. They seem to pull these notes directly from trees, from the earth itself, as if nature were whispering to them exactly what to play.
You listen to this, and you realise — yes, there’s something here that’s only for the chosen few. Dybfølt’s reinterpretation is a revelation for those who feel they belong to this narrow circle, for those who aren’t afraid to hear something silent, cold, and unyielding in the sound — like a northern winter.
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