CHAMBER MUSIC
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.
Plasticity
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.
Crumblings
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.
ORCHESTRA/LARGE ENSEMBLE
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.