Anna S. Þorvaldsdóttir, a leading contemporary composer from Iceland, wrote her first cello concerto, Before we fall, in 2024. This piece, notable both for its origins and reception, reflects the evolving landscape of Icelandic music and contemporary orchestral sound.
A new concerto for cello and orchestra
Before we fall was commissioned by major orchestras on both sides of the Atlantic: the San Francisco Symphony, BBC Proms, Iceland Symphony Orchestra, Helsinki Philharmonic Orchestra, and Odense Symphony Orchestra. Its world premiere took place at Louise M. Davies Symphony Hall in San Francisco in May 2025, performed by cellist Johannes Moser with the San Francisco Symphony led by conductor Dalia Stasevska. The piece then travelled to Europe, where its European premiere was featured at London’s BBC Proms, with Moser again as soloist, this time with the BBC Symphony Orchestra under the baton of Eva Ollikainen.
The concerto stands out for its continuous single movement structure, lasting roughly 26 minutes. Rather than being divided into strictly separated sections, the music flows as an uninterrupted narrative. Þorvaldsdóttir, who began her music career as a cellist before moving into composition during her studies at the Iceland University of the Arts, crafted the score with Johannes Moser in mind. Nevertheless, their first meeting did not occur until several months after the work was completed.
Rich orchestration and critical response
For this concerto, Þorvaldsdóttir employed a large orchestra, including solo cello accompanied by flutes, alto flute, cor anglais (English horn), clarinets, bass clarinet, bassoons, contrabassoon, horns, trombones, tuba, two percussionists, and strings. This range of instruments allows for a vast spectrum of sound, from dense ensemble passages to moments where the cello emerges from within the orchestral fabric.
Critical reception highlighted the concerto’s intellectual and sonic ambition. Lisa Hirsch of the San Francisco Chronicle described Before we fall as both “sonically and intellectually” compelling, deserving repeated listening. She noted that while the cello at times takes melodic flight, its role is integrated with the orchestra, cooperating more than competing. At the European premiere, Flora Willson in The Guardian emphasised the score’s “elemental, immersive quality,” observing how the symphonic textures behave almost like a living organism. She remarked on the orchestra occasionally converging into “luminous” harmony, even as it sometimes threatened to eclipse the soloist.
With Before we fall, Þorvaldsdóttir has not only created a new addition to the contemporary cello repertoire but also demonstrated the international reach of Icelandic composition today. The concerto’s blend of personal history and orchestral innovation stands as a testament to Iceland’s vibrant musical culture.
