Högni

Högni

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Biografie

Högni Egilsson is one of today‘s leading musical voices in Iceland. As a composer, performer and producer, his work has increasingly grown in demand over the last two decades. Högni‘s music and unique performance style have drawn a wide range of audience, spanning from classical music aficionados to more commercially inclined listeners. Ever since his indie rock group Hjaltalín exploded onto the scene in 2007, Högni’s music has gotten known for exploring the lines and crossing of musical boundaries, where his work is composed as much by mysterious sounds and shades as by melodiousness and harmonies that seek to intertwine various sonic landscapes. As a multi-instrumentalist, vocalist, and composer, Högni completed his studies at the Icelandic Academy of the Arts. In 2010, he wrote his first violin concerto that was premiered in Reykjavík the same year. Joining the well-renowned electronic group GusGus in 2011, Högni toured extensively both as a band member and a solo artist.

Högni has composed for various ensembles and furthermore he has become one of the leading composers for film, television and theatre in Iceland, winning him the Icelandic academy award, Edda, as composer of the year in 2021. He has written scores for Moving Art Iceland (Netflix), the cutting-edge dance installation Project XO (New Movement Collective), Hannah Felicia (Danskompaniet Spinn), The Heart of Robin Hood (The Royal Shakespeare Company) and Angels of the Universe (Icelandic National Theatre). He recently scored DUO productions feature film Alma and in 2021 he worked with acclaimed director Baltasar Kormákur on the score for the first Icelandic Netflix series Katla. The eclectic score, with a unique mix of choral and symphonic works, create a haunting stage for the mysterious thriller. In 2023 Högni collaborated again with Baltasar on Focus Features Touch set to be released in 2024. Högni has also collaborated with the Icelandic Symphony Orchestra where his Symphony no. 1 – Eternal Return was premiered in 2022.

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