Adele Marcia Kosman

If it were for me you’d piece me up (26.08)

Composer and singer Adele Marcia Kosman is currently studying electroacoustic composition in Stockholm at the Royal College of Music. Their practice, today, mainly revolves around developing tools for live processing in Supercollider for the Bachelor degree concert in May 2020. Whereas fixed media, acousmatic music and ambisonics are elements that have been dominant in prior work. These earlier works embraced concepts involving emotional relationships to time, chopping sounds and glitch, formlessness and intense turbulence, along with careful and studious audio editing. Adele Marcia releases vocal based experimental music as AMKosman, and has previously participated in a range of different musical engagements: Gospel choirs, pop-groups and separatist producer organisations, to name a few.

About the work

The simple and rigid controls the mass of sound. The rich and colourful bends for the iterations. In mutual understanding, mutual pleasure, the two worlds of material meet. Misunderstandings occur, but at no loss. Between every hit there is a window, an opening, and in every glance I have found something new. I have thoroughly searched to find the very core of this place, my findings will be presented in this piece.

Ylva Fred

Kapitel 1. Mezzosopran (29.08)

Ylva Fred (b. 1990) is a Swedish composer educated at Gotland School of Composition and the Royal College of Music in Stockholm. Recurring elements in her music are symbolism, humour and nostalgia, and moving in between the ordinary and the surreal. An important component in the composition process is the close collaboration with musicians or other artists, where other than concert hall music, Fred has created music for film, dance, fashion and more. In the past recent years, Fred has been awarded numerous awards and grants, such as Young Swedish Composer of the Year by Scenkonst Sörmland, the Royal Swedish Academy of Music’s national grant, and the Composer Grant in Memory of Sten Broman with the motivation ‘A composer with a personal voice, integrity and genuine talent’

About the work

Commissioned by The Nobel Center, in collaboration with the Opera College and the Royal College of Music, the task was to musically interpret the 2016 Nobel prize in literature. The chosen lyrics work like a collage, and consist of short excerpts from Jelinek’s novel The Piano Teacher, together with a famous quotation.

Text: Elfriede Jelinek (Swedish translation Margaretha Holmqvist) and Bob Dylan

Anton Berglund

Studie av ljud och ljus (26.08)

I come from Gothenburg - Sweden, I was born in 1996. I study composition at the Royal College of Music in Stockholm and have just been away for one year exchange studies at the University of Music and Performing Arts in Graz. I’ve written works for Uppsala Chambersoloists, KMH Chamberchoir etc, and I have written several electroacoustic pieces. I’ve done interdisciplinary collaborations with filmmakers, game developers, dancers and this piece with the fine-artist Anna Zimmerman. Throughout my works so far I’ve explored my body, different scientific phenomena and my view on and relation to other extramusical aspects of my work.

About the work

Ett tyst ljus rör sig framåt
Skymtar en rörelse på andra sidan
Vet hur tätheten, massan flyttar sig
Ett ljud av det som finns, ser något en bit bort, väntar in
Väsnas i sin ensamhet, i sina skiftningar, nyanser
Väntar på en rörelse
Ett tyst ljus lyssnar noga

Vågor i luften, osynliga barriärer
Tiden, tillsammans, på olika platser
Stannar upp, ser på varann, på var sin sida
En spegling
Samma mönster
Samma, på olika platser
Lyssnar på ljuset som faller
Ser ljudet sänka sig långsamt
Ser det höjas

Leds åt samma håll samtidigt, nära utom räckhåll
Var korsas riktningarna, eller om
Om korsande är möjligt
A silent light moves forward
Sees a motion on the other side
Knows the density, masses are moving
A sound of existing, catches something in the distance, awaits
Makes noise in solitude, in its shades, tints
Is waiting for a movement
A silent light listens closely

Waves in the air, invisible barriers
Time, together, in different places
Stops, facing each other, on each side
A reflection
Same patterns
Same, in different places
Hears falling light
Sees sound slowly sink
Sees it rise

Led in same direction at once, near out of reach
Where do the paths cross, or if
If crossing is possible

Nilz Brolin

Knife’s edge (28.08)

I started playing the guitar as a twelve-year-old and have been playing in bands and writing music ever since. I am also working in fine art, building sculptures, painting and making video work. My piece is a cross-pollination between music and art.

About the work

’Knife’s Edge’ is the result of a project exploring bipolar disorder and how it affects your everyday life. I began by interviewing ten people with the disorder. That knowledge together with my own experiences as bipolar in turn informed the creation of the music and video. The piece intends to conjure a compressed version of a typical bipolar cycle: euthymia –> mania –> depression –> repeat. Please sit down and relax.

David Tudén

Plumones in Utero (25.08)

David Tudén is a composer and artist working in different fields of art and music. His work is characterized by a conceptual method where the music often emerges from an exploratory approach of extramusical models, questions and interpretations. In many of his works the musical material stems from various examinations of subjects such as alchemy, the use of history, poetry and mysticism.

About the work

Emanuel Swedenborg (1688 – 1772) was a prolific inventor and scientist who during one of his scientific travels in 1744 started experiencing strange dreams and visions. These mystical recurring episodes culminated in a spiritual awakening during which he received a revelation that he was appointed by Jesus to reform Christianity. He recorded this cathartic period in his journal, which was found more than one hundred years later and published under the title ’’the Journal of Dreams’’. In the piece ’’Plumones in Utero’’ the theologist, human and mystic Swedenborg is consulted through a suggested dialogue between the entries in his dream journal and the antique roman poet Ovid (43 B.C. – 17 A.D.) Filtered through its historical models the music positions itself in the borderland between summoning, reflection and review.

Anton Lindström

I sleep, therefore I am (29.08)

Anton Lindström (b.1999) is a Swedish composer and musician from Göteborg, and is currently studying Composition at Högskolan för Scen och Musik in Göteborg. Aside from composition, Anton also performs primarily improvised, or pseudo-improvised electronic music on modular synthesizers as well as producing electronic music. Anton’s primary musical and aesthetic interests consist of freedom, improvisation, gestural expression, timbre and exploration of temporality. Music is an exploration and a showcase of energy and momentum. Even while faint or still, music is in constant motion and turbulence. Time cannot be frozen; every moment will pass in as short of an instant as in which it arrives. No moment is more true than any other, and none are forever. Thus no performance of music will, can - or should - be the same, as this defies an innate principle of our existence. One may choose to defy this property, composing a “hyper-precise” music as to echo a former state; or one could choose to embrace it by welcoming other moment-bound aspects into the musical framework – allowing each performance to be macroscopically unique. Performance is an innately subjective and deeply personal act and I strongly believe this should be encouraged on a scale which noticeably affects the works surface quality. My music attempts to place itself simultaneously within - and outside - of both these aforementioned realms.

About the work

The piece is based on four dreams that I have had at different times throughout my life. It attempts to showcase and describe each of these dreams in four separate movements, in a fashion similar to how I would describe said dreams if I were to present them to someone.

Each ‘dream’ also explores different means of freedom, each of which is based on how strong my memory of said dream is. A dream I remembered more loosely will have that reflected in its musical and notated material being less certain, and more open; whilst a dream I have a clearer memory of will be notated more precisely (though still not exact – no movement will sound exactly the same every performance).

The four movements, in no particular order, described very briefly:

Machine World – Based on a recurring nightmare I had as a child, where the ground collapsed and I fell into a subterranean machine-like hellscape.

Neon Mountain – A bright, neon-colored landscape consisting of tall mountains and the pink air filled with giant bubbles.

Void – Nothingness. Emptiness. Thoughts drift quickly whilst not succumbing to any stimuli. Stillness is not still.

Shadow Dance – The same way you can mistake a tree for a creature in the darkest of nights, this dream consisted of slender, spiny, shadowy figures, partaking in an unknown ritual.

Saga Fagerström

Love Lies Bleeding (26.08)

I interpret things, phenomena and forces through association and translation of perceptions and sensations from one sensory modality into another. My concepts are things that can be seen, touched, affected or experienced by all human beings. Blood, gravity, thunder or silk forms the composition in a process of finding ways to reach and represent the essence and nature of things within a structuralist idea of the world. I recently began to integrate sculptures into my music as kinetic scenography and musical instruments. I compose electronic music and installations as well as chamber music and have written for Norrbotten NEO, KMH Vokalensemble and Gotlandsmusiken etc. I studied at Gotland school of composition and also have a bachelor's degree in flute and is currently a part of contemporary Ensemble Dasein.

About the work

Inside a saturated sound. Close flower buds.

Petal fields floating in the air. Blood in dense rills over a broad ledge.

Love Lies Bleeding is a piece born from the extraordinary sound of the accordion. The very dense and saturated sound, with a clear core but at the same all around itself. The accordion, in opposition to most acoustic instruments, has almost equally strong overtones from the fundamental up to a very high part of the spectrum. Imagining these overtones guiding themselves, in groups, breaking out and growing into the sound creates the picture of the flower called Love Lies Bleeding which possesses the same kind of density, unity and dispersion.