Hailing from Östersund, Sweden, I have studied at the Royal College of Music, Stockholm and am currently pursuing a master’s degree at the Royal Danish Academy of Music. My works have been performed in the Nordic countries, Europe and the US by among others the Arditti quartet, the Keuris quartet, MolOt ensemble, Norrbotten NEO, OU Symphony, Orchestre symphonique Ose!, and Musica Vitae. My orchestral work Half-light on desolation has been awarded internationally (4×4 Prizes 2016, North Carolina New Music Initiative competition 2018) and in 2015 I was the composer in residence of the Swedish Lövstabruk chamber music festival. I have also participated in masterclasses with Chaya Czernowin, Kaija Saariaho, Simon Steen-Andersen, among others.




“We are offered an exciting balance between harmonic and warped materials. High-pitched tone pirouettes are mixed with muted sections where the instruments breathe together. Other moments cut like nails on chalkboards or literally sound like air raid sirens. An imaginative moment with beautiful interplay between the musicians.”

Piteå-Tidningen on Plasticity.


I grew up in Östersund, Sweden – a northern Swedish town of ca. 60 000 inhabitants, largely marked by being a focal point for winter sports, and sports in general for that matter. Coming from a family with a strong musical background, at age 5 my worldview was such that I asked my mom, “Does everyone in the whole world have to play the violin?”, being quite relieved when the answer was no. While professing that I might be interested in playing trombone, rather than the violin (for some reason unbeknownst to everyone at the time), I did not actually start playing music “properly” until I, one day, heard one of my classmates in 3rd grade play the infamous Für Elise. Not wanting to be outmatched, I was prompted to pick up playing the piano. The rest is, as they say, history.

Like many others before me, my path in music has been all but straight-forward. After tiring of the piano, I picked up the guitar, and likewise like so many others before me, grew long hair, chugged some riffs, growled some vocals and took a stab at the metal genre. It was during this period that I slowly started to realize that I actually enjoyed writing songs more than playing them. Eventually, it slowly dawned on me that one could, actually, be a composer, and then I’d be able to write songs all the time (and maybe even not have to be on stage playing them myself!).

Biography, cont.

While I can’t speak for everyone growing up in Östersund during the beginning of the 21st Millenium, my high school years were marked by an enormous disinterest in sports (of which there is a lot going on in my hometown), the aforementioned metal and cold winter nights. I was lucky to find a mentor in Johan Ederfors, a local composer, an exceedingly rare thing in my county of Jämtland. Johan was a teacher at my high school and was able to guide me into the world of classical music (this time around having a more genuine interest) as well as guide me in my early forays into composition.

When I first started composing, I felt like I’d come home. I had never been that adept at any particular instrument, at most being “okay”. In late elementary school, I had a huge interesting in coding and programming, but eventually, I grew tired of that as well. Composition, however, was different. I ended up taking the rather standard path that young people in Sweden that want to become composers take: I attended a composition program “folkhögskola” (lit. “folk high school”), a remote school where you pretty much study music, party and not too much else. Focusing 100% on writing music for the first time in my life, I was somewhat like a kid in a candy store.

Beginning my studies at the Royal College of Music in Stockholm brought on something of a confusion of musical identity. Writing the work Half-light on desolation (featured above) represented something of a culmination of a melodic style informed by Stravinsky, Lutoslawski, and many others. In terms of what I actually wanted to do with my music, I was at a loss, however.


for saxophone quartet



Vidare, till intet

for orchestra
biography, cont.

The work andas, upphör (2015) represents, I believe, an early indication of what would come to be my new direction. While the melodic material borrows heavily from Half-light on desolation, the character is subdued, the expressivity withheld. With the guidance of Per Mårtensson, who began teaching at the Royal College in 2016 and came to be another important mentor of mine, I started to find my purpose – exploring, or perhaps more precisely searching for, an intimacy in my music.

Since then, my music has become primarily focused on quiet tension, exposedness, fragments, the incomplete and the imperfect. I’ve recently become increasingly interested in “bad timing”, simultaneous processes, as well as the unfulfilled – discovering Bernd Alois Zimmermann’s haunting work Stille und Umkehr has sparked a special interest in the last-mentioned. Nowadays based in Copenhagen, pursuing a master’s degree after two years of freelance life, I feel like I might have found my focal point at last – which is, however, likely a naive notion.


Competitions/calls for works

  • O/Modernt composition award 2019, awarded for Piano quintet
  • Ivan Juritz Prize 2019: longlisted with Plasticity
  • MusArt Kaleidoscope call for scores 2019: selected with Isolated strands of reflection
  • Nordic music days 2019: selected with Plasticity
  • Young Nordic Music 2019: selected with Plasticity
  • festival mise-en 2019: selected with Plasticity
  • 113 Collective call for scores 2018: selected with Isolated strands of reflection
  • FST presentation day 2018 for new Swedish orchestral music: selected by the Swedish society of composers with Half-light on desolation.
  • North Carolina New Music Initiative 2017: prize winner with Half-light on desolation
  • Vox Novus 2017: selected in call for scores with Admiral Launch duo
  • FST presentation day 2017 for new Swedish orchestral music: selected by the Swedish society of composers with Three endings for 15 strings.

Competitions/calls for works, cont.

  • 4×4 Prizes 2016: 1st prize winner with Half-light on desolation.
  • STRESS THE AKADEMIROMMET: selected with nova
  • Composer-in-residence, Lövstabruk chamber music festival 2015
  • FUTURE LEGENDS NORDIC 2014: selected with höstdikt.2 in call-for works at Palladium, Malmö
  • Susanville Symphony Composition Competition 2013: 2nd prize in category “composers under 25”


  • Håkan Näsman memorial fund 2018
  • Tove Birthe Jensens scholarship 2018
  • STIM scholarship 2018
  • Helge Ax:son Johnson foundation scholarship 2018
  • Helge Ax:son Johnson foundation scholarship 2017
  • Alvar Kraft scholarship 2017
  • STIM (Swedish PRO) grant 2016
  • Swedish Royal Academy of Music grant 2016
  • Alvar Kraft scholarship 2015
  • Region Jämtland Härjedalens culture scholarship 2015



Time of Music Viitasaari 2018

Masterclass with Chaya Czernowin, project with the Arditti Quartet

MolOt Masterclasses 2017

Masterclass with Helena Tulve and Alexander Knaifel, project with MolOt ensemble

Archipel Ose! Academy 2017

Masterclass with Kaija Saariaho and Orchestre symphonique Ose! at Archipel festivel, Geneva

Kyiv Contemporary Music Days 2016

Masterclass with Jaime Reis in Kyiv, Ukraine

New Music for Strings 2016

Masterclass with Simon Steen-Andersen and Eivind Buende in Aarhus, Denmark

Ticino Musica 2015

Masterclass with Johannes Schöllhorn and Mathias Steinauer in Ticino, Switzerland


Royal Danish Academy of Music, Copenhagen

Master's programme in composition, 2018 -

Royal College of Music, Stockholm

Bachelor's programme in composition, 2013 - 2016

Framnäs folkhögskola, Piteå

Pre-college composition program, 2011-2013