ProgrammE

TBA – Albin Fiskesjö
(Work note TBA)

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TBA – Alvi Joensen
(Work note TBA)

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Mural – Picture Promanade at Jesusbaren – Amalia Garay Lukacs
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Naturligtvis behöver inte havet oss– Elias von Proschek
Lennart Sjögrens diktsvit Havet, varifrån mitt styckes titel är hämtad, präglas av ett tonläge som på en gång rymmer såväl påtaglig skörhet som latent våld. Jag ville i verket komma åt en musikalisk återklang av detta språk: ett våglikt emanerande stillestånd från tystnaden, som riskerar förbytas i aggression – eller fågelsång.  

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Bird in Dusk – Eskil Kauppi
The piece is directly linked to an image I took of a crow sitting in a tree at dusk, seemingly watching a
reflection of light from my camera. It is not something natural but the composition of the image is unique.
There is a scalewise motion in triplets that makes for the main phrase of this short piece. I play around with
the timbre around it to reflect the image. There should be quite some dynamic contrast in the piece and
played with a high level of intensity. The image is concentrated and tense to me. Hopefully the music will
reflect some of this.

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Moods 7 – Freya Wolf
Moods 7 is part of a series of solo pieces, exploring the unique capabilities and limitations of different instruments. It is a study of registers on the violin, trying to highlight the difference in color of each individual string. Additionally, it focuses on voice juxtaposition and rhythmic syncopation.

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Crane Dance – Gabriella Bartoletti
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TBA – Goncalo Rodrigues
(Work note TBA)

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Au seuil – Ian Whiteford
Au seuil (at the threshold) is inspired by the a short story, following a man renting a room on the street Rue d’Auseil. In the building lives Erich Zann, a reclusive old man who plays music his attic room, which grows increasingly frantic at night. It becomes evident that Zann’s music is an effort to hold back dark cosmic entities from beyond the window of his attic. One night, the barrier fails. Zann is consumed by the darkness and the narrator glimpses an incomprehensible void before escaping. The entities are never described, apart from the rushing sound of the wind.

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Propeller – Lotta Alvin
This violin piece was inspired by Sonia Delaunay’s Propeller (1937), which is a monumental,

abstract mural created for the Palais de l’Air at the Paris International Exposition. Part of a series

celebrating modern technology, it features vibrant, rhythmic geometric shapes and circular

motifs symbolizing motion and mechanical power.

The music depicts different aspects of flying, such as ascending, gliding, soaring, motor failure

and rotating propellers.

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Telephone Call – Max Ramsthaler
Imagine picking up the phone and not understanding the urgency of the situation on the other end of the line. This work is a musical interpretation of that misunderstanding.

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ECHT – Natalie Schäfer
I walk through the streets, streets full of zombies. Heads bowed, hardly anyone looking up at the sky.

A beeping here, a buzzing there. Heads twitch frantically, hands reach into jacket pockets,

trouser pockets, bags, bags upon bags.

I see a woman. She is sitting on the bench by the lake, next to the big church.

She looks dreamily across the water, but then she pulls something out of her bag, and becomes a zombie.

What is real, what is fiction?
Who is real and who is just a fiction of themselves?

I see people crying in front of mirrors, I see people buying,

over-buying and buying, and yet they don’t seem to be happy.

What is real, what is fiction?
What is real, what is just a shadow of itself?

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Bourrée – Oliver Svensson
This piece is a baroque dance movement as if from an instrumental suite. The type of dance is a Bourrée — a lively dance (however, not as fast as the similar rigaudon) of occitan origin in duple meter, traditionally danced with clogs. Inspired by the solo violin music of Bach, Telemann, and Roman, the composition process started with two principal ideas — the opening theme and the double stop passage in parallel thirds. From there I concluded that the music felt like a bourrée and turned it into a full piece.

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Ulvpolskan – Oskar Björkman
Variations on an original polska.

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Hommage à Saariaho et Kurtág – Richard He
A piece consisting of six overlapping miniatures inspired by two composers who have greatly influenced my compositional philosophy: György Kurtág and Kaija Saariaho. It is an intertwined fusion, a musical offspring of the distinctive styles of these two composers whom this work is celebrating.

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Untranslatable – Mariia Bieriestova

The piece is inspired by Ten Nights of Dreams by Natsume Sōseki. I was interested in the idea of something that cannot be fully expressed in words – a state between dream and reality, where meaning is felt rather than clearly understood.