ProgrammE

---

Not Houdini – Elias von Proschek
From the outset, the cellist is put in an antagonistic relationship with their accompanist – a tape piano, endlessly repetitive and erratically glitching. Snarling and twisting, the soloist attempts their escape from machine-like dullness. The attempted breakout is however ultimately thwarted, leaving the cellist having to succumb to the accompanist’s rhythmic grid.

---

DARK BLUE – Natalie Schäfer
For all people who are going to meet each other. One day.

---

… Tu es là, c’est sûr – Gonçalo Rodrigues
The duality of life and death is a tenuous and fragile line in our world. … Tu es là, c’est sûr transports the listener into another plane where both exist. No one knows for sure what awaits us on the other side, and the uncertainty of it consumes our minds. Through the music, one can perceive the delicate strokes of sound and nuance morphed with the roughness of touch. The textures accommodate the nostalgic feeling of distant memories; moments forever present in the past. Both the melancholy behind the realization of such a terrible truth and the acceptance woven into it. As the continuation of If There’s a Heaven…, Tu es là, c’est sûr personifies the doubt and shapes it into certainty. In a way, anyone can reach the transparency lost in that plane, the silence in it and the peaceful notion that it brings to our hearts: if there is a place where you now might exist, that place only exists because of you.

---

Tête a Teto – Arvid Olson
“Tête a Teto” gets is name from combining the phrase ”tête a tête” (head to head, an intimate meeting) with the name of the Japanese virtual singer Kasane Teto. The synthethic voice/artifical human meets with the organic Cello and they interact with each other, learning and playing off of each other. The voice literally comes out of the Cello as if the Cello itself was singing with Teto’s voice. In the end, Teto has fully integrated into the organic world and the sound of the Cello is left alone, ”singing” Teto’s melodies.

---

Inner Voices – Anna Carlén
The voices in our minds can often be a big help in choosing and deciding things in our everyday life but when these voices don’t agree on something it can become an inner conflict. In this piece, there are two voices, one clarinet being played live and one manipulated prerecorded clarinet. When these two voices are in harmony a human voice joins them with “mm”, similar to a mantra. When the voices are in conflict they are arguing, yelling at each other and it might be hard to hear which voice is which. Which voice is worth listening to and who is right?

Simon Bertilsson – clarinet

---

Bottled – Alvi Joensen
In our Swedish modern society political correctness is becoming ever more ubiquitous and when expressing one’s true feelings or opinions, you risk being frowned upon, or worse, expelled from certain societal circles in which you roam. The avoidance of this risk tends to lead to a somewhat forced positive mood, that everyone is trying to uphold. The easiest way of upholding this mood is to keep your negative feelings and critical opinions to yourself and bottle them up. In this piece I have chosen to depict this phenomenon through amplifying a cello, the sounds from which are manipulated and played through mini speakers that are put on the cello. The cellist representing the superego and the effects the ego and the id.

---

Organiza tu rabia – Amalia Garay Lukács
“Organiza tu rabia” (organize your anger) is a piece for Cello and live electronics, that reflects into the experience of migration within Sweden in times where migration issues and xenofobia are on the rise in the whole world.

---

C (sequence::order) – August Jansson
C (sequence::order) is a prototype of a generative interpretation graph. In short the graph shows abstract notation, such as sounded and unsounded notes, on a pitch axis to be played over a set amount of time. The thought of this was to force the performer to give a more flexible and reactive interpretation to information that is otherwise very straight-forward. As the reference for this particular iteration was a sine wave with four interest points where the golden ratio of each corner intersects; it can be seen as a sort of curated sine distortion.

---

Orange Flowers – Emanuele Maria Fiammetti
“Orange Flowers” for solo cello embodies the image of a vibrant bouquet encased in glass— rich and lush, yet inherently delicate. The piece references the resonant solo cello traditions of Kodaly and Cassadò to paint the floral essence, while the interplay of natural harmonics suggests the subtle distortions of light through glass, creating an aural illusion of the flower’s fragile beauty within a faux environment.

COMPOSERS

Elias von Proschek trained as a horn player before pursuing composition. He is currently in the first year of the Master programme. His music – mostly instrumental, occasionally electronic – is characterised by a restless, searching quality, existing in an ever forward-leaning stream of consciousness.

---

Natalie Schäfer is a German-Czech musician, composer, arranger, film composer and teacher. She started composing at the age of 12. At the age of 16, she wrote her first arrangements. She studied classical music theory and composition at the University of Music and Theatre Rostock with Prof. Dr. Dr. Lang and Prof. Wolf as well as Mathias Steinauer at Zürich University of the Arts. She took part in masterclasses with Prof. Dr. Sackmann (Zürich University of the Arts), Prof. Dr. Petersen (Johannes Gutenberg University Mainz), Prof. Dr. Holtmeier (Freiburg University of Music), Prof. Dr. Sprau (Berlin University of the Arts) and Prof. Dr. Brandes (Universität Mozarteum Salzburg). She already had student teaching contracts in music theory and led music theory tutorials. Natalie Schäfer studies composition for film and media at Malmö Academy of Music (Lund University) with Nicklas Schmidt and Daniel Fjellström. Composers like György Ligeti, Thomas Adès, Karin Rehnqvist and John Williams inspire her compositions.

---

Gonçalo Rodrigues began his studies in composition at the School of Arts, University of Évora, and after completing his degree he entered his master’s degree in composition at Musikhögskolan i Malmö in Sweden. He completed his master’s degree in June 2023 and is currently enrolled in a second master’s degree. His studies in Portugal with Christopher Bochmann and Hugo Ribeiro notably influenced his musical style, more specifically his serialist techniques. However, his more recent studies with Bent Sørensen and Staffan Storm have revealed in his music a more authentic personality and form as well as a passion for dense and suffocating textures with melancholic melodies.

---

Arvid Olson started taking piano lesson at the age of 6, and is currently finishing his masters in composition at Malmö Academy of Music. He takes a special interest in Japan and his music combines influences from Japanese modern as well as traditional music, jazz, classical and western contemporary styles.

---

Anna Carlén (2000) was born and raised in a family where music was important and a natural part of everyday life. As a child, she sang in multiple choirs, played the saxophone in different ensembles, and practiced music with friends and family. At 14 she discovered music written for movies and started dreaming about composing such beautiful and moving pieces. Studying music at Musikgymnasiet in Skövde was, therefore, an obvious choice and presented the possibility of practicing composing and arranging, which Anna immediately fell for. 2020 she explored her new-found interest at Geijerskolans Folkhögskola. In 2021 she moved to Växjö and studied for Hans Parment at Sankt Sigfrids Folkhögskola for two years. Nowadays Anna spends her time at Malmö Academy of music pursuing her dreams of creating music that will have people experience passionate feelings and be touched by music the way she is.

---

Alvi Joensen is a guitarist and composer with a fascination for the unknown, the macabre and humour. As a performer he commissions new pieces on regular basis and plays pieces on the verge of oblivion. As a composer he balances on the edge between tonality and atonality, constantly seeking new sounds, timbres and expressions.

---

Amalia Garay Lukács (1997) is a young Chilean composer and piano teacher, graduated from Universidad de Chile, who resides in Malmö, Sweden. She has a wide background that goes from Chamber music, Orchestral music, to electronic and acousmatic music. A big part of her development has been made working in interdisciplinary performances, collaborating with dance and theater companies in Chile, as well as others creative collectives in Malmö and Lund. Currently she is studying her Master in Composition in the Malmö Music Academy, as well as working as a piano teacher in Skåne.

---

August Jansson is a Swedish composer currently studying at the Malmö Academy of Music. His music focuses on innovation in tonal music and expression based on systems found in the mathematical and digital world. Drawing inspiration from the entire spectrum of music legacy, his music feels familiar yet never fails to let the obvious admiration for fiendish dissonance shine through.

---

Emanuele Maria Fiammetti is an Italian composer of contemporary classical music with a background in composition, singing and cello performance. His works explore imaginative soundscapes that evoke emotional experiences and the oneiric world. Before moving to Sweden, Emanuele graduated from the Milan Conservatory, obtaining the highest possible degree evaluation for his composition degree and winning the 2020 “Premio del Conservatorio” scholarship as one of the institute’s top students. He is currently pursuing a Composition Diploma at Lund University in Malmö, Sweden under Bent Sørensen.