N.B.! All events except those at Norrlandsoperan are free.


Piteå city hotel

UNM: opening concert

26/8, 19.00
Piteå church, Nygatan 25

The opening concert of Young Nordic music days 2019 features a Gesualdo madrigal remixed by Martin Hirsti-Kvam, an ascension in six stages through Bára Gísladottír’s Seven heavens (of different heights (and depths)) and in Sofie Gerup’s Soeil noir bec Jaune we experience the choir of the black bird.

We also take part of the first-ever performance of Leevi Räsänen’s Ajassa, on a poem, Onni (roughly: “bliss”), by Finnish poet Lauri Viita.


Sofie Gerup – Soeil noir bec Jaune, 8’
for contrabass, trumpet and flute

Leevi Räsänen – Ajassa
for countertenor and bass clarinet

Bára Gísladóttir – Seven heavens (of different heights (and depths)), 6’42”
for oboe, percussion, harpsichord and double bass

Martin Hirsti-Kvam – Beltà poi che, 7’
for soprano, theorbo, harpsichord and electronics


Anna Risberg, soprano
Christiane Rödder, harpsichord
Kaisamaija Uljas, theorbo
Astrid le Clercq, bass clarinet
J-T Vesikkala Wittmacher, vocals
Jessica Fällgren, contrabass
Sofie Gerup, contrabass
Marcus Ström, percussion
Håkon Guttormsen, trumpet
Kaja Marie Andersen, flutes

Presentation: Jan Sandström

27/8, 12.00
Kaleido, Storgatan 44

Piteå local composer Jan Sandström (born in Vilhelmina) presents his artistic practice, ranging from the Motorbike concerto and several other concertos  to his extensive repertoire of choral works. Jan is also the professor of composition at the college of music in Piteå, and is doctor honoraris causa at the Umeå University.

Motions and nature

27/8, 16.00
Studio Acusticum, Snickargatan 22

The Young Nordic music festival puts on a concert of electroacoustic music featuring fixed media and live electronics.

Aleksandra Slyz’ Synesthesia combines projection, live electronics, dance and motion controllers. The dancer’s bodies become instruments, and arm position, movement speed, rotation and muscle tension become sound.

the human a subject is is an audiovisual composition based Kobo Abe’s Woman in the Dunes, acting as an experiment in an upcoming larger-scale intermedial work by composer Olga Szymula.

Lara Poe’s La Rivière et la forêt, in turn, has its roots in the composer’s time in the French village of Aulus-les-Bains, where the Garbet river is a prominent feature in the village’s soundscape. Nature sounds from the river’s ecosystem are combined with sounds from the village itself, creating a sounding portrait of the Occitan commune.


Aleksandra Slyz – Synesthesia, 30’
for live electronics and dancers


Olga Szymula – the human a subject is, 8’
fixed media/audiovisual

Lara Poe – La Rivière et la forêt, 17’
fixed media


Anna Kamińska, Patryk Durski, choreography & performance

Tension. Carefreeness. Schumann. Rock.

27/8, 19.00
Acusticum, Snickargatan 22

Kristofer Svensson’s Sommarberg, i glömska (Summer mountains, in forgetfulness) begins the concert. The work, with holiday state of mind of leisure and carefreeness as its point of departure, is part of a series of works intended to be listened to in a noisier and less formal environment than the regular concert situation. The piece will be performed (if the weather allows) outside. The audience will gather in Acusticums foyer and will return for the second half of the concert.

Back in Acusticum, Frej Wedlund’s string quartet Plasticity follows, a work focusing on quiet tension, intimacy and the sensation of time. The concert culminates in Teemu Mastovaars extensive work Mit inniger Empfindung (where the composer himself takes part on violoncello), an interdisciplinary work exploring rock, Schumann, Korean music and nature soundscapes. These aspects are put together with live painting influenced by romantic landscape painters and Jason Pollock’s drip paintings alike.


Kristofer Svensson – Sommarberg, i glömska, 35’
for trumpet, violin and viola


Frej Wedlund – Plasticity, 12’
for string quartet

Teemu Mastovaara – Mit inniger Empfindung, 24’
for violin, violoncello, percussion, piano, gayageum, painter and electronics

Norrbotten NEO

Robert Ek, clarinets, Sara Hammarström, flutes, Mårten Landström, piano, Marcus Ström, percussion, Filip Gloria, violin, Stephen Upshaw, viola, Åsa Åkerberg, violoncello

With guests:

Youjin Seong, gayageum, Emil Johansson, eletric bass, Teemu Mastovaara, violoncello, Klediriola Malloli, violin 2, Jonas Larsson, trumpet, Emelie Markgren, painting

Think Tank – Locations

28/8, 12.00
Kaleido, Storgatan 44

A think tank is a collective thought experiment. In the think tank, we fantasise around the ideation of an enterprise. This enterprise seeks to tackle one or some of the current problems we have as part of the artistic life, for which location is a constant underlying reality. Whether it be a geographical point like a city or a cultural centre like a community, it is always part of the problem, but also of the solution. For this exercise, we address the concept of location by focusing on themes such as inclusivity, physicality, accessibility and climate responsibility. How do we deal with our present cultural circumstances and how can we work towards realistic possibilities for this enterprise?

(dis)jointed joints

28/8, 16.00
Kaleido, Storgatan 44

The culture café and artspace Kaleido is filled with acoustic, performative and audience-participatory works. The semi-titular Joined Joints by Danish composer Loïc Destremau sees two trombones come together to form one joint, sounding body, while Kajsa Antonssons Dismantling focuses heavily on the taking apart of flutes into their individual joints. 

Bryntesens For Natalie strips things down, focusing on breath and barely-heard words, while The Color Symphony invites the audience themselves to take part as performers in a symphony of tuned wine glasses.


Lars Ullberg & Patrik Söderberg, trombones
Marcella Stéen, James Black, Jens Peter Møller, performance


Loïc Destremau – Joined Joints, 9’
for two prepared trombones

Sondre Bryntesen – For Natalie, 7’
for voice

Kajsa Antonsson – Dismantling, 15’
for three performers

Katrín Helga Ólafsdóttir – The Color Symphony, 10’
*for 9 glasses and audience participation


28/8, 19.00
Framnäs folkhögskola, Adrian Wennströms väg 15

The spotlight falls on fixed media in this afternoon concert at Framnäs folk high school, with field recordings as a recurring element – Stockholm’s subway system in Train cuts, a radio tower’s wires in Wires, and train rides between Aarhus and Højslev in William Kuhdal’s Earth brown fields, lime green cars, for which the composer rode the train 21 days in a row, 6th – 26th of January, not as a means of transport, but with the train ride as a purpose in itself.

Whereas these three works explore and extend field recordings, Gitanjo II, featuring composer Adam Eriksson as the performer, extends the guitar through various techniques and preparations, most notably, a banjo – giving rise to the new hyperinstrument’s name.

N.B.! The last city bus departs from Framnäs at 21:00 – don’t hang around for too long after the concert!


William Kudahl – Earth brown fields, lime green cars, 25’
fixed media

Tine Surel Lange – Wires, 11’
fixed media

Gustav Lindsten – Train cuts, 7’30”
fixed media


Adam Eriksson – Gitanjo II, 30’
for gitanjo and electronics

A to B to Z

Presentation with Juliana Hodkinson

29/8, 12.00
Kaleido, Storgatan 44

One of the challenges that has always interested me is the transfer of sounds, ideas, work and concepts from a particular point of origin – a place, a moment in time, a life-station – beyond the original context. In A to B to Z I will discuss some of my works that have arisen from an explicit desire to incorporate a place – or, rarely, a brief to do so – and what that commitment to a location has meant for its transfer to other places.

Panel debate

29/8, 14.00
Kaleido, Storgatan 44

As a platform for young artists within new music, we take this opportunity to address Location as a circumstance that influences the practical work of platforms for culture, whether it be a local association, an institution, a residency, a newspaper or a revolving festival. 

The panel will have the concept of Location as a starting point for discussions on shaping communities and networks, platforms and exchange around art. Whether it has to do with something like identification with a certain place or a social culture, or with geographical distance or proximity, location is a constant underlying reality that can both place challenges for artistic practices and unite communities and audiences that share an interest. 

OON: Metsänkellot

29/8, 16.00
Kaleido, Storgatan 44

The kantele duo OON performs Metsänkellot, or Forest Chimes, a work focused around creating a space for contemplation in the now. Originally a composition of the same name for solo kantele, this work is performed on two different kinds of kantele.


OON – Johanna Tarkkanen and Sarah Palu, kantele


Metsänkellot, 45’
for two kanteles

Piteå New Voices

29/8, 19.00
Studio Acusticum, Snickargatan 22

Voice and performance meet in this evening of choir music, text scores, audiovisuals, gadgets, analogue radios and much, much more. Ragnheiður Erla Björnsdóttirs new work Seglskraut: Currents in Ocean Circulation explores, rhythm, sounds and cadence of language and moves between music, language and visual art creating an oceanic atmosphere on stage with performance and electronics along with a video installation created by the visual artist Ásdís Birna Gylfadóttir.

Sanctus from 1990 (version for mixed choir from 1993) is but one of Sandström’s often-performed choral works, perhaps most famously the reworking of Praetorious’ Es ist ein Ros entsprungen.

Juliana Hodkinson’s (something in capitals) combines text fragments, bells and gadgets in an elaborate, at times improvisatory text score.


Ragnheiður Erla Björnsdóttir – Seglskraut, 20’
for 13 singers/performers and audiovisuals

Jan Sandström – Sanctus, 5’
for choir

Juliana Hodkinson – (something in capitals), 18’
for 12 singers/performers and any number of instrumentalists


Piteå New Voices
Sigurður Árni Jónsson and Victoria Stanmore, conductors
Oriol Pares, James Black, Mika Persdotter, Jens Peter Møller, instrumentalists

Norrlandsoperan Symphony Orchestra: season opening

30/8, 19.00
Operaplan 7, Umeå

UNM guest stars in Norrlandsoperan Symphony Orchestra’s season opening with the two orchestral works fall, into the ocean and WitchHunt.

The works each have their own extramusical point of departure: fall, into the ocean being inspired by the simultaneous timelessness and fragility of continental glaciers, while WitchHunt is written to the memory of the victims of the witch trials in Europe, 1450 – 1750.


Norrlandsoperan Symphony Orchestra
Giordano Bellincampi, conductor
Camilla Tilling, soprano


Tuomas Kettunen – fall, into the ocean, 8’
for orchestra

Hans Blok – WitchHunt, 13’
for orchestra

Richard Strauss – Vier Letzte Lieder, 24’
for soprano and orchestra


Gustav Mahler – Symphony no. 4, 60’
for orchestra

Norrlandsoperan: Black box night

30/8, 21.30
Operaplan 7, Umeå

Norrlandsoperan’s season opening carries on into the night with a UNM program featuring live electronics, audiovisuals, percussion. And more.

The audiovisual Dimmar Öldur Rísa ties into Kettunen’s work from the previous concert, telling the story of capsizing, of falling into the ocean, whereas Lehtinen’s two companion works Best buddies and One (Buddies) are all about the dialogue between electronics and accordionist.

Appropriate for a late-night concert, Disrupted particles touch upon patterns from drum and bass and electronic music, in contrast to Stoklands more meditative Riidyam. Hermod Ringset Bentsen’s percussion monologue based on a statement from Dostoevsky’s The Idiot, at times soundless, at times explosive, ends the UNM visist at Norrlandsoperan.


Gulli Björnsson, electric guitar
Ulrik Nilsson and Johan Renman, percussion
David Wahlén, percussion


Gulli Björnsson – Dimmar Öldur Rísa, 9
for electric guitar and audiovisuals

Leo Lehtinen – Best buddies + One (Buddies), 12’
for accordion and electronics

Ragnhild Haugland – Disrupted particles, 5’30”
for two percussionists and electronics

Victoria Seline Stokland – Riidyam, 8’
for two percussionists

Hermod Ringset Bentsen – Explanations of the subsequent human. And more., 10’
for solo percussion


31/8, 15.00
Studio Acusticum, Snickargatan 22

Screening of a video version of Olga Szymula’s interdisciplinary opera Lapses for opera singers, performer and children’s choir – with elements from film, choreography and electronic music. In the opera, Szymula intends to unite a fascination for structures for dreams, the phenomenon and behaviour of memory, and ultra-dramatic gestures.

Lapses is inspired by and constructed from personal, real and unreal memories and dreams of the composer. The libretto consists of fragments of the political writings of the composer’s father, written between 1994 and 1997 in Poland.


Olga Szymula – Lapses, 45′

Delightful and absurd: chamber music, sinfonietta & music theatre

31/8, 18.00
Studio Acusticum, Snickargatan 22

Young Nordic music 2019’s final concert offers acoustic music in small and large formats.

The concert’s first half, featuring Norrbotten NEO and guest performers, includes amongst other works Maja Linderoth’s sinfonietta work Insula, as well as Rögnvaldur Konráð Helgason contemplative, intimate Andaðu, andaðu.

James Black’s mastodont work This Piece Will Improve Your Life, by Danish newspaper Politiken referred to as “delightful and absurd, somewhere between Samuel Beckett and instrumental theatre composer Mauricio Kagel” follows after an intermission. The work, performed by a Copenhagen-based ensemble of freelancers from Black’s debut concert in 2018, ends the 2019 edition of the Young Nordic music festival.

Norrbotten NEO

Conductor: Petter Sundkvist.

Robert Ek, clarinets, Sara Hammarström, flutes, Mårten Landström, piano, Marcus Ström, percussion, Filip Gloria, violin, Stephen Upshaw, viola, Åsa Åkerberg, violoncello, Sara Viika

With guests:

Flavia Huarachi, flute, Iga Kurec, bass clarinet, Christopher Pantelidis, oboe, Markus Mattson, english horn, Sofia Nilsson, horn, Johannes Moen, trumpet, Lars Ullberg, trombone, Annie Svensson, tuba, Gabriela Thür, harp, Lorenzo Colombo, Tomek Szczepaniak, Klaes Nielsen, percussion, Klediriola Malolli, violin, Valur Pálsson, contrabass

This Piece Will Improve Your Life

Performers: James Black, Lorenzo Colombo, Flavia Huarachi, Iga Kurec, Jens Peter Møller, Anja Nedremo, Fei Nie, Klaes Nielsen, Oriol Pares, Mika Persdotter, Tomek Szczepaniak


Kristján Harðarson – Kvintett, 15’
for piano quartet and percussion

Rögnvaldur Konráð Helgason – Andaðu, andaðu, 7’
for flute, clarinet, marimba and harp

Matias Vestergård – …ALS ADERN DURCH SEIN DUNKEL…, 10’
for mixed septet

Maja Linderoth – Insula, 15’
for sinfonietta


James Black – This Piece Will Improve Your Life, 45’
for 12 performers


Continuously 26/8 – 31/8
Kaleido, Storgatan 44

Throughout the festival, artist duo María Arnardóttir and Sophie Fetokaki with guest Kristine Bech will be conducting the installation meta/morphē, in a process of (un)making centered around the deconstruction and recycling of a piano.

Members of the public and festival participants alike are invited to come by and partake in a collective process of exploring, disassembling and transforming the piano.

meta/morphē: “after the form”, from Greek meta (prep.) “after”, “along with”, “beyond”, “among”, “in pursuit of” + morphē (noun) “shape”, “form”, “appearance”, “figure”, “outline”, “kind”, “sort”. 

meta/morphē is an act of collaboratively transforming a piano into something else. If the piece had a score, it might read: “Carefully disassemble a piano over a period of time with the assistance of fellow artists and the public. Use the disassembled parts to make new things”. Behind the act is a central question: what comes after the form? 

meta/morphē is an inverse Argo. Instead of replacing each piece of the ship until it is entirely renewed, without having changed either its name or form, here the ship is gradually taken apart and the pieces are used to create new forms. 

What becomes of the name, after the form? How do we relate to the object during and after its transformation? How does the transformation help us to know our relationship to the (former) object? 

Tytti Arola – Thinking sounds

Continuously 27/8 – 31/8
Studio Acusticum, Snickargatan 22

Thinking sounds (2018) is an acousmatic composition based on fillers. A filler is a sound spoken in conversation signalling a pause to think without giving the impression of having finished speaking. The visual element of the piece is an installation that combines the transcript sounds that are heard and also a non-score of the piece – the unheard audio material written down. The material consists of reporters interviewing Finnish prime ministers about power. Who has the power and how does the power affect a human being?

“Who is speaking on b-b-b-behalf of the people?”

“Media is – aims to absorb itself in a way the role also as a representative of the voters.”

“The politicians are the representatives of the voters.”

“Power changes behavior in a way that can be compared to the consequences of a brain damage.”

“In some ways one gets isolated and one isolates oneself of the surrounding society.”

“… if you are trying to do good, you end up doing at the same time also bad.”

Frederik Heidemann – Honey, you’re my one and only

Continuously 26/8 – 31/8
Piteå city hotel, lobby
Olof Palmes gata 1

Honey, you’re my one and only is a 16-minute animation film unfolding inside and around a software tool for videogame creation. We follow a character who has been left by his playing agent, rendering his body a static vessel for sensorial input. Standing there, he starts to notice a synchronicity between him and his surroundings. How the trees sway like his legs, and no time seems to pass without his movement.

Honey, you’re my one and only has been shown at RAMA festival and Aarhus
Artspace, and will have its international premiere at UNM 2019.

Juliana Hodkinson – La coquille et le clergyman

Continuously 26/8 – 31/8
Kaleido, Storgatan 44

In 2012, Louisiana Museum of Modern Art commissioned me to create a soundtrack for Germaine Dulacʼs silent film, La coquille et le Clergyman, which is considered to be the first surrealist film. The soundtrack ran on the looped installation of the film for the period of the exhibition Avantgardens kvinder 1920-1940, 14th Febr. – 28th May 2012. I also created two live remix versions, which I performed live at Louisiana during the exhibition period.

The film is a flow of dream-like and often absurd images, full of iconic surrealist techniques: mirrorings, splittings, depictions of the city as a psychological space, visual and semantic dissolves, the endless unlocking of doors, and metaphorical images produced by the sexual subconscious. Dulacʼs approach to filmmaking consolidated the role of the director as prime creative artist, bringing her into fierce conflict with script-writer Antonin Artaud, but serving as a vital source of inspiration for the 1950s Nouvel Vague generation of French filmmakers.

My soundtrack is composed of foley sounds, alienated instrumentals and electronics. Involving elements of realistic sounds in synch with the film, but also heavy processing and disjuncture with the images, the new soundtrack and its live remix versions aim to bring contemporary sounds and pulses into dialogue with Dulacʼs own sensitivity to music, tempo and timing.