The title reflects this approach. For Falgren, “turquoise” represents horizons – spaces where boundaries dissolve and movement feels unforced. “I never compose with an idea of where I want to go,” he explains. “I listen. I wait. And when the wind turns, I follow.” That sense of release runs throughout the album, where silence, slowness, and restraint are as central as melody and rhythm.

At the core of the record is Falgren’s distinctive violin language. His playing is rooted in a tactile, breath-like approach to the bow, shaped over decades with his nearly 300-year-old instrument. “I have worked with the bow the way others work with the voice,” he says. “Like a breath that is always present – even when nothing is being said.” The result is music that prioritises tone, phrasing, and space, drawing the listener into close, detailed interaction with the sound.

While Turkis moves between lyrical passages, rhythmic movement, and more reflective moments, its focus remains on immediacy rather than display. The album brings together elements from across Falgren’s wide musical background – jazz, folk traditions, and improvised music – without settling into a single idiom, instead favouring a fluid, personal language shaped by experience and collaboration.

A four-time Danish Music Award winner, Falgren was named the first recipient of the Ellen & Svend Asmussen Prize by Svend Asmussen, who regarded him as a musical successor. Alongside his work as a performer, he composes for film, theatre, and television. Over a career spanning more than two decades, Falgren has contributed to over a hundred albums — playing a leading role on more than 15 of them, even when not releasing under his own name. Turkis is only his second album credited entirely to himself, with two records alongside German guitarist Sönke Meinen among his most prominent collaborations.

With Turkis, Falgren presents his most personal statement to date – music grounded in listening, shaped by movement, and driven by a search for connection beyond words.