selected works

 Chamber music

 Orchestra/Large ensemble


Isolated strands of reflection

for soprano saxophone, percussion and piano

Duration: 10 min.

Written in 2017 for Ensemble Suono Giallo. The work explores fragments, the space surrounding distinct sound events, and a withheld expressivity. In 2019, a version for clarinet (Bb-flat), percussion and piano was made for Zeitgeist New Music Ensemble.


for soprano saxophone, percussion and piano

Duration: 12 min.

Written in 2018 for the Arditti Quartet, Plasticity is focused on a rhetoric relationship between a fluid, yet halting material and a form of “quasi-silence”. On a larger scale, the work is concerned with an elasticity of musical form, with the climax of the piece being a 40″ fermata.


for saxophone quartet

Duration: 8 min.

Crumblings was written for the Keuris Quartet and premiered at the Gaudeamus Muziekweek 2018. In close relation to Isolated strands of reflection, it is concerned with fragments, but also with disparate elements, and the futility of its fragmented, primary material.

Piano Quintet

Duration: 7 min.

My Piano Quintet was written for and awarded in the first O/Modernt Composition Award, on the subject of a misreading of Beethoven’s 3rd symphony. The piece takes as its point of departure the opening march section of the 2nd movement, with the opening bass motif of the original serving as an “idée fixe” of the quintet. Published with Gehrmans Music Publishing.


Three endings for 15 strings

for string ensemble

Duration: 12 min.

Three endings for 15 strings (Swedish title: Tre avslut för 15 stråkar) represents a significant milestone in my artistic development. At the time of writing, I was concerned with my approach to contrast, trying to find a way to treat a quiet, intimate music as a “mode unto itself”, rather than one half of a dichotomy.

Half-light on desolation

for orchestra

Duration: 10 min.

Written in 2014, Half-light on desolation represents the culmination of a melodically-driven style of mine, with influences from Lutoslawski, Stravinsky, Saariaho and many more. Rhapsodic in form, it features a host of wind soli, with the work beginning with a one-and-a-half minute flute solo, almost veering towards a flute concerto.

Vidare, till intet

for orchestra

Duration: 12 min.

Vidare, till intet (English title Further, to nothing), along with the wind symphony work andas, upphör represents an important step towards my current aesthetics. It retains influences from my previous, melodic style, while moving towards the more “monochrome” approach to contrast that my latter works would come to be marked by.