Thomas Bjelkeborn, sound artist, electronic musician and electroacoustic composer living in Sweden. He is known in contemporary music circles since 1988, primarily established as EAM composer for international festivals, often in the context of residencies at prominent music institutions. In his work, he investigates the relationship between traditional acoustic instruments and it's electronic extensions, where new physical-digital instruments often are combined with advanced audiovisuals to explore music beyond known horizons. He is curating regular concerts at Fylkingen Stockholm and have curated new music festivals in Sweden since 1990. He has performed compositions and electroacoustic music on all continents and tours frequently in Europe with the live electronic ensembles BOP and Sound Quartet. - Thomas Bjelkeborn är sedan länge etablerad i internationella sammanhang och genomför varje år många musikprojekt och konserter. Hans konstnärskaps språngbräda är aktuell konstmusik samt musikteknisk innovation, dvs nyskapande fysiskt-digitala musikinstrument som ofta kombineras med avancerad audiovisuell media. Nedan följer ett urval av senaste årens projekt. Som konstnärlig ledare för ensemblen Sound Quartet, förvaltar Thomas Bjelkeborn kvartettformen med nytt perspektiv, framför allt genom användande av live-elektronik och realtidsbearbetning av instrumentklanger. Med kvartetten som bas skapar han samarbeten med internationellt verksamma musiker, som t ex Nadia Ratsimandresy (Paris) ondes martenot och Philippe Moenne-Loccoz (Lyon) elektronik, t ex vid festivalen Electrochoc 2017 (Lyon). Under 2018/2019 drev Thomas Bjelkeborn kompositionsprojektet Porting Self med stöd av Musikverket. I projektet studerade han nya former för elektronisk interaktion med akustiska instrumentalister som gästforskare vid Sound and Physical Interaction Research Group, Aalto University (Helsingfors). En viktig projektdel var de två arbetsperioder med avslutande konserter på Fylkingen i Stockholm med tillresta musiker: Martina Claussen (Wien) röst/elektronik, Emilíe Girard-Charest (Montreal) cello och Emma Lloyd (Glasgow) violin. Redan 1996 startade Thomas Bjelkeborn duon BOP tillsammans med träblåsaren Paul Pignon och sedan nystarten 2017 har deras samarbete intensifierats med framförande t ex vid Svensk Musikvår (Stockholm) samt vid festivalerna Radical DB (Zaragoza) och Sonic Territories (Wien). 2017 gav Liquen Records (Valencia) ut cd:n Critical Sounds med Thomas Bjelkeborn på elektronik och Josep Lluís Galiana (Valencia) saxofon. Thomas bjelkeborn är verksam som curator för regelbundna konserter på Fylkingen i Stockholm som del av konsertserien Fridays PUSH. Under arton år (1999-2017) var han starkt engagerad i Gävles musikliv, bland annat som initiativtagare till PUSH-festivalen och Institutet för digitala konstarter. Genom tonsättarresidens (t ex vid Sound and Physical Interaction Research Group (SOPI), Aalto University Helsingfors, Auriculab Teneriffa och NOVARS Manchester) och konstnärliga utbyten med utlandet har han fördjupat sin kunskap om komposition och utökat sina kontakter med tonsättare och musiker från hela världen och hans musik har framförts i ett stort antal länder på jordens samtliga kontinenter
Kulturpris 2012 Musikens Möjliggörare, Föreningen Svenska Tonsättares pris för insatser för det Svenska musiklivet 2007 Svenska Humanistiska Förbundets kulturpris för lovvärt intellektuellt arbete i sann humanistisk anda som ledare för IDKA 1991 Nya Sparbankens Kulturpris Kulturuppdrag 2005-2007 Sekreterare i den executiva internationella styrelsen för ICEM/UNESCO, se www.cime-icem.net. 2004-2007 Ordförande för svenska sektionen av ICEM, International Confederation for Electroacoustic Music 2003-2007 Konstnärlig ledare för konsertserien Ventil på Gävle teater 2000-2007 Initiativtagare och projektledare för IDKA, Institutet för digitala konstarter Gävle, del av styrelsen till 2014 1992-93 Assistant Studio manager EMS Elektronmusikstudion Stockholm Tonsättarresidens 2015-2018 Sound and Physical Interaction Research Group (SOPI), Aalto University Helsingfors 2008-2009 Artistic residency NOVARS research center Manchester University 2007-2010 Composer residency Musiques Inventives Annecy 2006-2007 Composer residency at IMEB Bourges, commission from IMEB Bourges. 1990 Composer residency National Institute for Concerts in Sweden, a full year employment for work at EMS and concerts in Sweden Stipendier 2023 Helge Ax:son Johnssons Stiftelse stipendium 2022 Föreningen Svenska Tonsättare tonsättarstipendium 2021 Konstnärsnämndens konstnärsstöd 2020 STIM stipendium 1988 Svenska Musikaliska Akademien Stipendium 1987 Gävle stads Kulturstipendium Övriga kulturstöd 2024 Kulturrådets ensemblestöd Sound Quartet 2023 Kulturrådets projektstöd Sound Quartet 2018 Statens Musikverk projektstöd Porting Self Sound Quartet 2016 Kulturrådets turnéstöd Sound Quartet Diskografi BOP Bjelkeborn & Pignon, and so it all ended, Fireworks edition, 2000 Thomas Bjelkeborn, Past time, Elektron, 2001 Josep Lluís Galiana and Thomas Bjelkeborn, Critical Sounds, Liquen records, 2017 SQ Penguin Silhouettes, Lamour records, 2019 BOP Bjelkeborn & Pignon, Polyworks, Triptychos, 2020 Sound Quartet, Of no avail, Triptychos, 2021 Sound Quartet, Trios, Triptychos, 2021 BOP Bjelkeborn & Pignon, It's not a flaw, Triptychos, 2022 Sound Quartet, DOS, Triptychos, 2022 Thomas Bjelkeborn, Queen Mab, Triptychos, 2023 BOP Bjelkeborn & Pignon, Bad number, Triptychos, 2023 Eva Lindal och Thomas Bjelkeborn, Lindal & Bjelkeborn, Triptychos, 2023 Sound Quartet, Quadtour, Triptychos, 2024 På samlingsalbum och andra artister album Because we love music 2020, Lamour records, 2020 Sound-In dubbel CD collection, 2012 Marie Selander Voicings, 1994A selection of 100 works, not complete, not all compositions have yet been published. 2022 Quadzone, kammarmusik Quadripple, kammarmusik Urspegel, kammarmusik Quadcloud, kammarmusik Quadrants, kammarmusik Circular E's, kammarmusik 2021 Glitshit, kammarmusik Red moon chant, kammarmusik Red moon preface, kammarmusik Quadflow, kammarmusik 2020 Polyworks. Polyworks is a series of seven musicworks published on the Triptychos label supported by the Swedish Arts Council. The specific names of the seven works are: Polygyps, Polymood, Polyants, Polyduo, Polydots, Polytramp and Polywood. These compositions relates to artistic work by the duo BOP - Bjelkeborn & Pignon from 2018 to 2020. The main core of the music is the craving for intertwine and rebirth in the electro-acoustic borderland of the acoustic instruments and their electronic counterparts. The acoustic instruments often goes beyond notes and rhythms developing further the spectral possibilities hidden in unchartered territories between wood, metal and body. The electronic voices thrive from computeraided research on new humaninterfaces and real-time sound response models in an ever expanding universe between man, machine and the acoustic instruments. Personakt S:4, kammarmusik, 2020 C‐beams at the Tannhauser gate, EAM 2019 Porting Self. Porting Self is a music and development project extending traditional instruments through electroacoustic composition and realtime sonic alterations. The project is organised for the Sound Quartet ensemble with Thomas Bjelkeborn as artistic director. Porting Self is funded by Swedish Performings Arts, Stockholm City Culture, Nordic Culturepoint and Helge Ax:son Johnsons fund. Participants in the ensemble for the premiere of Porting Self is Thomas Bjelkeborn computer/electronics, Martina Claussen electronics, Emma Lloyd violin and Paul Pignon woodwinds/tenorsax. The composition and technical developments is done at Studio84 in close cooperation with Fylkingen Stockholm. Partners is also EMS Stockholm, SOPI Helsinki and SPL Stockholm. A work-in-progress concert took place at Fylkingen Stockholm 19th October 2018 with Porting Prequel and the first performance of Porting Self is planned for 29th march 2019 at Fylkingen Stockholm. For updates on the progress of the artistic work please see www.facebook.com/portingself/. 2018 Squelgrain, for woodwinds and sax, a cooperation with Paul Pignon for the duo BOP. Squelgrain is a soundscape between senses, rough terrain and nasty barriers disturb the gasping escape, constant shakedown runs and uneasy resting stops, music for the raw air in an unpleasant no-mans-land. There is a preversion of this composition from 2013 but it's been totally revised 2018. The first performance at JulELjud 15 decemebr 2018 at Fylkingen Stockholm. Of no avail, ett samarbete med Philippe Moenne-Loccoz, elektronik, Eva Lindal violin, Paul Pignon träblås och tenorsax med uruppförande på Fylkingen 16 november 2018. Porting prequel. Porting prequel is the first composition as part of the Porting Self, a music and development project extending traditional instruments through electroacoustic composition and realtime sonic alterations. The project is organised for the Sound Quartet ensemble with Thomas Bjelkeborn as artistic director. Porting Self is funded by Swedish Performings Arts, Stockholm City Culture, Nordic Culturepoint and Helge Ax:son Johnsons fund. Participants in the ensemble for the premiere and work on Porting Prequel was Thomas Bjelkeborn computer/electronics, Emma Lloyd violin, Emilie Girard-Charest cello and Koray Tahiroglu electronics. The composition and technical developments was done at Studio84 in close cooperation with Fylkingen Stockholm. Partners is also EMS Stockholm, SOPI Helsinki and SPL Stockholm. The first performance of Porting Prequel 19th October 2018 at Fylkingen Stockholm. For updates on the progress of the artistic work please see www.facebook.com/portingself/. OLÅT, ett samarbete med Eva Lindal violin, Ida Lundén keyboard/gadgets och Viktor Zeidner vinylspelare med uruppförande på Fylkingen 23 augusti. Riotuos Runs "If left alone the trail rests silently, many have passed, well prepared, but non have returned, until now" This is BOP, Thomas Bjelkeborn on electronics and Paul Pignon on woodwinds. The music was composed in october 2018 and recorded at Studio84 in Stockholm 1st november 2018. C-beams at the Tannhäuser Gate, EAM fixed media, "Suddenly the Tannhäuser Gate comes in sight with it’s glimmering aura of C-beams chasing away in the dark." Rätvinkel, ett samarbete med Josep Lluís Galiana saxofon, Lisa Ullén piano och Lise-lotte Norelius elektronik med uruppförande på Fylkingen 4 maj 2018. Urordning, ett samarbete med Josep Lluís Galiana saxofon, Lisa Ullén piano och Lise-lotte Norelius elektronik med uruppförande på Fylkingen 4 maj 2018. Freqflows, ett samarbete med Martina Claussen elektronik, Ida Lundén elektronik och Paul Pignon träblås och sax. 2017 Polymorpher for cello and EAM in cooperation with Philippe Moenne-Loccoz (FR) och Emilie Girard-Charest (C). It was first performed at Fylkingen Stockholm on the Fridays PUSH concert series 24 november 2018 with Emilie Girard-Charest cello, Thomas Bjelkeborn and Philippe Moenne-Loccoz on laptop/electronics. This is a Sound Quartet production. Onward The work was composed at Studio 84 and recorded at 23rd March 2017 with Paul Pignon on Bass Clarinet and Thomas Bjelkeborn on realtime resynthesis and processing. Critical Sounds 01 - 08, a series of eight works for saxophone and live-electronics. These compositions is a collaboration with the musician Josep Lluíse Galiana from Valencia Spain. The eight different works explore many shifting timbral variations and a large number of transformational textural procedures. All of the compositions was recorded in Petralba Spain in may 2017 and published on CD in January 2018 on the Spanish label Liquen Records. Inbetween the silent whispers för preparerad flygel, violin med extended techniques och realtids ljudsyntes/tranformation. Ett samarbete med Hara Alonso (ES) och Emma Lloyd (UK). 2016 Mouthpiece Alpha för flygelhorn och elektronik. Skapades under ett residens vid Auriculab Teneriffa Spanien. The Gale Parallax Composed and recorded music as a joint project with drummer Robert Ikiz for the movie The Gale Parallax directed by Rushema Vinberg. At five is acousmatic chamber music finalized during a artistic residency at Les Abattiors SMAC in Bourgoin-Jaliieu France october 2016. This performance was recorded 13th october 2016 at a concert at l'Arteppes Annecy France. The music was composed and performed with Nadia Ratsimandrecy on ondes martenot, Paul Pignon on woodwinds, saxophone, flutes and digeridoo, Philippe Moenne-Loccoz on percussion and electronics, Thomas Bjelkeborn on mouthpiece and electronics and Raquel Meyes on kbrdslöjd (visuals). At Five is a 5 movement work, 4 short movements followed by a final longer movement as conclusion. 1st Nadia&Paul: ondes martenot and clarinet, 2nd Philippe&Thomas: percussion, mouthpiece and electronics, 3rd Nadia&Philippe: ondes martenot, percussion & electronics, 4thPaul&Thomas: digeridoo, saxophone and electronics, 5th tutti: ondes martenot, bassclarinet, flutes, percussion and electronics. Howling Shouts 2nd is a further development of the musical structures of the composition Howling Shouts. This is the slow middle movement of three movement Howling Shouts and can be performed as a separate work of music. It was first performed and recorded 26 november at Sonorities 2016 Sonic Arts Research Center SARC Queens University Belfast. Paul Pignon performed on flutes and woodwinds and Thomas Bjelkeborn on realtime computer instruments, sonification and resynthesis. Mouthpiece is an experimental composition with focus on sounds and processing on the verge of tone and tonalities. This is an excerpt of a recording that was produced 15th september 2016 in Studio84 Sweden. Alexandra Nilsson - mouthpiece, trumpet, pipe and live-electronics. Thomas Bjelkeborn - mouthpiece, chinese flute and computer processing. Tvåfemtvå is a miniature with strong inspiration from the composer John Cage's works for prepared piano. This music was long in my thoughts but the opportunity never arose until in May 2016 in the Alpha Studio at Visby Composers Centre Sweden. A pianist would never be able to play this work so it had to be a friendly humanoid with a third arm that had to do the job. 2015 Faustos A slow mid section lament that mourn over the fear for the growing darkness within. This short excerpt is from the 45 min work Faustos by Lisa Ullén, prepared Grandpiano and Thomas Bjelkeborn, Live-electronics. This was recorded live 17th december 2015 at the Gävle Theatre in Gävle Sweden. KET is one of the world's oldest spoken languages. Through a song about the life in Siberia a new audiovisual language is created in the form of an artwork with the same name. The artistic work of Thomas Bjelkeborn Sweden and Koray Tahiroglu Finland is at the forefront of contemporary artistic-technical development and this project is conceived as a meeting between the oldest and the hypermodern. The work involves music and video created live from images and sounds of an old women singing on the language KET. Her singing has been evolved into a contemporary audiovisual performance. Both Thomas and Koray are involved in development of new ways for human interfaced computer aided interaction for live performance. KET displays their ongoing artistic and technical research in this field.This is a videoexcerpt from the KET project performed live in Gävle 22nd november 2015. KET was commissioned with support from The Swedish Arts Council. All research and artistic work was done at Studio 84 Stockholm Sweden and Sound and Physical Interaction research group Alto University Helsinki Finland. 2014 Landing in Berlin The titel and the work is inspired by and refers to my first visit to Berlin and there is a really confused flight to Berlin added as a spice to the mix. The music was composed in may 2014 in Studio Alpha at VICC Visby international Composer Center supported by a grant from The Swedish Society of Composers. It was first performed at a Metanast concerts at Mediacity UK in Manchester. Triptychos Tre It's a nonexistence slightly trembling, waiting for the next ride to nongrila. Lisa Ullén prepared grandpiano, Paul Pignon didgerido, tenor sax, clarinet, recorder and laptop, Thomas Bjelkeborn realtime soundtransformation on laptop and wii nunchucks. The first performance was recorded 5th march 2014 at Fylkingen Stockholm. Howling Shouts An energetic work recorded live at the peak of SQ UK springtour Bangkok bar Manchester may 2014. Thomas Bjelkeborn electronics, wii and laptop. Paul Pignon woodwind, tenor sax and flutes. Recording Manoli Moriaty/Metanast, Mastering Thomas Bjelkeborn/Studio84. Isthisayoke At first heads stucked in line then lost in a dance twice over time and boom time again. Recorded at Fylkingen Stockholm October 2014, Paul Pignon on woodwinds and sax, Thomas Bjelkeborn on electronics. Flipperglide Sometimes struggle is just a surface for the unknown. This was recorded at Fylkingen Stockholm 19 november 2014, Paul Pignon on woodwinds, Thomas Bjelkeborn on electronics. 2013 Triptychos Eins Faint notes longing for a first stop, to desire not what obscured is, unmöglich. Lisa Ullén prepared grandpiano, Paul Pignon didgerido, tenor sax, clarinet, recorder and laptop, Thomas Bjelkeborn realtime soundtransformation on laptop and wii nunchucks. The performance was recorded 13 november 2013 at Fylkingen Stockholm. Triptychos Zwei Sonst ist es.......drei, oder nicht. Lisa Ullén prepared grandpiano, Paul Pignon didgerido, tenor Sax, clarinet, recorder and laptop, Thomas Bjelkeborn realtime soundtransformation on laptop and wii nunchucks. The performance was recorded november 2013 at Fylkingen Stockholm. Penguin silhouettes A slow lament on the icy core of an arctic landscape, thousands of years of habitual steps on the fallen snow, lost fragments from a southern light dissolves for fallen tears never more to be frozen. This was recorded may 2013 at the Sound Department Studio Sweden with Thomas Bjelkeborn on electronic sounds, sonic alterations and sonifications, Paul Pignon on recorder and alto recorder. All electronic sounds were derived in realtime from the acoustic instruments live sounds. This is an excerpt from the CD Penguin Sillouettes released 3 juni 2014. Stuck laughter It´s a joyous path for the one´s who haven't got the slightest notions to what's been going down. This was recorded in september 2013 at the Sound Department Studio Sweden with Thomas Bjelkeborn on electronic sounds and sonic alterations, Paul Pignon on clarinet and sonic alteration. All electronic sounds were derived in realtime from the acoustic instruments live sounds. This is an excerpt from the CD Penguin Sillouettes released 3 juni 2014. Silencer Some things can not be put to rest, it goes on, repeating itself, Silencer is a spectral boat on the soundwaves. It was recorded in Berlin at Studio Funkstrasse 23rd august 2013. Philippe Moenne-Loccoz percussion and realtime sound manipulation, Thomas Bjelkeborn sound synthesis and realtime sonic alteration. Crazy Violin The sinoid pillar leaves deep traces on the wooden core. Philippe Moenne-Loccoz strings & bow,Thomas Bjelkeborn electronics. Recorded at Studio84 9 december 2013. Littleofeverything The nails pushing further into the concrete as the notion grows stronger that some things lost was never to be found. Philippe Moenne-Loccoz cover & electronics, Thomas Bjelkeborn Dizi flute & electronics. Recorded at Studio84 9 december 2013. All electronic sounds were derived in realtime from the acoustic instruments live sounds. Kiss Keep it simple, stupid. Philippe Moenne-Loccoz & Thomas Bjelkeborn percussion & electronics. Recorded at Studio84 9 december 2013. All electronic sounds were derived in realtime from the acoustic instruments live sounds. 2012 The Zipper from the Black Lagoon. This music is my tribute to Frank Zappa, Greggery Peccary and Nasal Retentive Calliope Music. I re-used a lot of Zappas compositional collage technique from his earlier acousmatic works and combined that with his latter manners in his synclavier compositions. My choice of sounds is very closely related to Zappas soundworld, they are entirely my own but with a Zappa twist. The music celebrates the fact that Zappa once started as a drummer and in the early sixties went to the Darmstadt Ferienkurse to study new music. The music hopefully makes you sense the playful manner of a freejazz drummer being Caged in a Zappa syndrome. It was first performed in october 2012 at a Phonos Concert in Barcelona. This is a stereo mix from the original 5.0 surround mix and lacks some spacial qualities. The stereo version gives a good perspective of the composition and have been performed in many concerts. 2011 Solitude Silence Ett audiovisuellt verk som skapades för den årliga konstmanifestationen Nuit Blanche Paris Frankrike. Verket hyllades som ett av de mest lyckade projekt som genomförts vid SI Paris. Vi gjorde sex föreställningar under en kväll och nådde en publik på 6700 människor. Redan före framförandet lyftes Solitude Silence fram som ett av årets mest intressant projekt av en enig samling internationella tidskrifter som Liberté, Vouge och Glamour. Verket finns i en kortversion för lyssning med namnet Great White Open. Information och bilder från projektet finns på http://www.sounddepartment.se/solitudesilence. Swingding is concentrated around a core of rhythmic sound objects in an effort to make clean simple lines while maintaining a musical unrulyness. Illusory movements of the sound in a play with time and space in an improvisational musical form with a strong effort forward. Swingding was composed during artistic residencies at NOVARS Manchester UK and Inventives Musiques d'Annecy France from 2009 to 2011 and was finalized at EMS in Stockholm in october 2011. Premiered at La Tabacalera Madrid Spain. 2010 Speedbump is a play with serious things, sometimes we are forced to stop in the middle of life's most intense moments; collisions, friction, resistance, desirable or undesirable events forces us to a moment of reflection, sometimes we learn something, often we take knocks again and again. Speedbump was composed in Studio Alpha at VICC in Visby and the final mix was done at EMS in Stockholm. The work had its first performance at Cinéma pour d´oreille during Nuit Bleue 2010 in Arc-et-Senans France and has since then been played in many festivals in Spain, Greece, UK and Sweden. This is a stereo mix from the original 5.0 surround mix and lacks some spacial qualities. The stereo version gives a good perspective of the composition and have been performed in many concerts. 2009 Sliper för laptops och live-elektronik. Uruppförande vid Nuit Blanche i Paris. Komposition kom till som ett residens vid Musiques Inventives d’Annecy med stöd från FranceCultures. Unplucked Uruppförande vid MANTIS spring festival, Manchester UK. Kompositionen skapades under ett residens vid NOVARS Manchester University med stöd från Helge Ax:son Johnsons Stiftelse. "Then sounds abruptly slips out of my tight grip, in sudden burst they pop out on the timeline, they sway and toss to keep their balance, sworn to never leave their place again" The human mind is a perfect tool for many trades and in most situations we can trust it to guide us to the right conclusions. Sometimes the effort of dwelling on a thought is much to large in this world of exponential growth, so we rush on and often lose the chance of real adventure. As a composer I search for the ability to stop the action, to take a slice of life and hold it to the light in hopes of revealing the mystery that lays within. The music in Unplucked originated from an acoustic guitar in search for the sounds beyond the tradition of the instrument. The sounds from the first recording session was somewhat electrical and the feeling of the situation was very unplugged although no strings was plucked. In the studio I continued the efforts of the guitarplayer to go beyond the instruments sonic capabilities. I applied heavy filtering and compression to squeeze the sounds until they gasped for their acousmatic breath. In Unplucked the illusion of movement is mostly created in the listeners mind. The artificial acoustics is often used in a transition between an apparent room within a room and a spacial guide pointing towards the illusion of acousmatic movement. Many of the sounds are doubled and repeted but they always keep a strict position where the speakers are placed (in the original 5.0 channel setting). There will always be interplay between the listeners mind and the presented possibility for the hearing of Unplucked. The mind can not be totaly trusted on the task of revealing the acousmatic truth of this work of soundart. My mission as an artist is to revisit the evident to reveal it’s beutiful yet elusive nature. Unplucked was composed at NOVARS research center at Manchester University UK during an Artistic Residency in the autumn of 2008 with the support from Helge Ax:son Johnsons Stiftelse. Additional work was made at EMS in Stockholm and the mastering in Studio Alpha at VICC in Visby Sweden. Many thanks to Johan Sundberg for his prolific and profound skills on his acoustic guitar. In the memory of the Karplus-Strong Plucked-string synthesis algorithm. 2008 Love in the eye of queen Mab Uruppförande vid ElektroMediaWorks 2008 i Aten, Grekland. Kompositionen skapades under ett residens vid Visby Internationella tonsättarecentrum med stöd av ett stipendium från Helge Ax:son Johnsons Stiftelse. Framföranden; 2008: MIA en Novembre Annecy (FR), Vindöga 08 Sandvikens konsthall, Garajistanbul Istanbul (T). In Love in the eye of queen Mab Thomas Bjelkeborn reforms the old swedish text-sound tradition in an exciting exploration of Shakespear. This is the second piece in a cycle of six pieces with inspiration from the play Romeo and Julia by William Shakespear. Again the composer collaborates with the renowned swedish actress Therese Brunnander of the Royal Theatre Dramaten in Stockholm Sweden. In this piece the focus is on the celtic myth about Queen Mab who is the "fairies' midwife" in combination with the instant when Romeo and Julia falls in love at first sight.The music tries to balance the trembling anxiety for loosing yourself in an intense love at first sight. Somehow the aire of Queen Mab obscures Romeo and Julia and the music enters a mystical world of dilution. Maybe queen Mab visits us through this music to tempt us to endure our love for her, a love on the verge between fear and joy. The music was created in 2008 during a artistic residency in Visby International Composers Center in Sweden with the support of a grant from Helge Ax:son Johnson Foundation. The first performance appeared at ElektroMediaWorks08 in Athens Greece. This is a mastering edit done in 2011. DISS för akustisk gitarr, laptop och live-elektronik. Uruppförande Vindöga 2008 Konsthallen Sandviken. Framföranden: 2008: Audio art festival Bunkier Szuki Krakow (PL), Center for contemporary art Warszawa (PL), City Museum Gdynia (PL), Vindöga 08 Sandvikens konsthall. Squeeze n' squeak för laptops och live-elektronik. Uruppförande MIA en Novembre 08, Annecy, Frankrike. Framföranden; 2008: Audio art festival Krakow (PL), Center for contemporary art Warszawa (PL), City Museum Gdynia (PL), Espace 60 Bonlieu Annecy (FR) Drooner för laptop och live-elektronik. Uruppförande vid MIA en Novembre 2008 i Annecy Frankrike. Spacer Uruppförande vid Norberg festivalen 2008. 2007 Alpha Position U Uruppförande Audio Art Festival 2007 Krakow Polen. Verket komponerades i Studio Alpha vid Visby tonsättarcentrum med stöd av ett stipendium från Föreningen Svenska Tonsättare. Framföranden; Garajistanbul07 Istanbul (T), MIA en Novembre 08 (FR), 1e concierto acousmático 08 (ES), MANTIS 08 Manchester (UK), Festival Punto de encuentro 08 (ES), Frankrike Cinema pour L'oreille 08 Becancon (FR), Electroacoustic music days 08 (GR), Orangeriet Lövstabruk, Festivalen Vågform Gävle, Nuit Bleue d’Arc et Senans 08 (FR), Australasian Computer Music Conference 08 Sydney (AU), Festival Synthése 08 Bourges (FR), ElektroMediaWorks 08 Aten (GR). In Alpha Position U I wanted to create a sense of movement without moving any sounds. I tried to limit all spectral changes to avoid unnecessary blending and placed the sounds at exactly the speakers positions. Any travel in space is an illusion created by spectral diffusion between the speakers and the acoustics of the listeners room. The music is a distinctive five channel piece which could have been played by five musicians (and a ghost) standing exactly where the speakers are (+ virtuel center back). This stereo version is a mere reflection of the original but still works to give you an option of being in the Alpha position of my soundworld. The music was composed in autumn 2007 in Studio Alpha at Visby International Center for Composers in Sweden with a grant awarded by The Society of Swedish Composers. - Kompositioner i urval 1987-2007 - Verk för EAM, fixed media MelquÍades (1987) Framföranden; Stockholm Electronic Music Festival, Synthése Bourges m fl. Ex eller ramundbergets tystnad (1988) Debutverk med uruppförande vid skinnskattebergsfestivalen 1988. Enklang - ljudligheter (1990 -91) Ett Svenska Rikskonserters beställningsverk för stiftelsen Lövstabruk, Do it again (1991). Uruppförande i Nya Sparbankens bankhall, Gävle. Changes (1992) Uruppförande i Hörsalen, Kulturhuset. Within Without (1993) Uruppförande vid Actuelles Suedois, Bourges, Frankrike. Kompositionen tilldelades ett hedersomnämnande 1993 vid den årliga kompositionstävlingen i Bourges. TOF, daughter (1996) Uruppförande vid en konsert under 5.5.5, ett elektro-akustiskt hörspel som del av Gävle stads 550-års jubileum. Framfördes som musik till en ballet för grävmaskiner vid invigningen av Göteborgs Kulturnatta 1996. Where be these enemies (2004) Ett Rikskonserters beställningsverk med uruppförande i december 2004 på Fylkingen vid en konsert för EMS 40-års jubileum. Framföranden; Digital Vital Gävle, Synthese Bourges (FR), Rålektronika Stockholm, Musica Viva 05 Lissabon (P), 2006: Ai-Maako 06 Santiago de Chile (C). Submetal (2004) Uruppförande vid festivalen Synthése i Bourges, Frankrike. Verket har bl a framförts vid Ventil Gävle, COMA Växjö, Vågform Gävle, Musica Viva Lissabon Portugal, Ai-Maako Santiago Chile, MIAenNovembre06 Annecy Frankrike, Vindöga Sandviken, MinneskonsertRózmann Fylkingen Stockholm. Decipher (2006) En beställning från Comunidad Electroacoustica de Chile, CECH med uruppförande vid festivalen Ai-maako 2006 till minnet av 50 år av chilensk elektronisk konstmusik. Framföranden; MIA en Novembre 06 Annecy (FR), Ljud Som Kretsar 06 IDKA Gävle, Monitor SR P2. Just things forgotten (2006) En beställning från Musiques Inventives d’Annecy med uruppförande vid festivalen MIA en Novembre 06. The Acousmosis Dragon (2007) Ett beställningsverk från Institut de Musique Électroacoustique de Bourges Frankrike med uruppförande vid Synthese Festival 2007 Bourges Frankrike. Framföranden; NoShitFestival07 Långholmen Stockholm, Nuit Bleue 07 Arc-Et-Senans (FR), Trädgården07 Lövstabruk, HZ07 StoraGasklockan Gävle, Garajistanbul 07 Istanbul (T). Verk för instrument/röst The Castle of Goouldahgadir (1992) för datorstämma, basklarinett, röst och live-elektronik. Ett beställningsverk från Trio Collectif et Cie, Annecy. Repsnagel (1992) för röst, dator och live-elektronik Nio voro de (1994) för röst, dator och live-elektronik. Catch and Run (1997) för klarinetter, midigitarr och live-elektronik. Uruppförande vid Fylkingens Event 1997. Drop and Run (1997) för klarinetter, midigitarr och live-elektronik. Uruppförande vid Sibelius Akademien, Helsingfors. Quator 1997 för live-elektronisk kvartett. Uruppförande vid Sibelius Akademien, Helsingfors, Finland. I samarbete med den Schweizisk-Franska ensemblen Trio Collectif. Verk för dans/intermedia Zaal så som (1989) För en dansföreställning med koreografi av Bo Arenander med premiär på Fylkingen och turne i Sverige, Norge och Finland. Förben (1990) intermedia. Beställning till Stockholm Electronic Music Festival 1990. Explicata indigo (1990) För en dansföreställning med koreografi av Bo Arenander. Nageltoo, Nästing och Repsnagel (1991) för röst, dans och bildspel. Premiär på Dansens hus och därefter turné i sverige och Finland. YEOP (1992) för tape, video och Iaidomästare, premiär Kulturhuset PEEP Stora Salen. Without a cause (1992) Ett NOMUS beställningsverk för dansteatret Nye Carte Blanche och en dansföreställning av koreografen Jens Östberg. Premiär i Bergen oktober 1992 därefter turné i Norge och Sverige 1993. Ljudion (1994) En interaktiv elektroakustisk installation som en del av de fasta utställningarna vid Musikmuseet, Stockholm. Digger (1994) Ett beställningsverk från Moderna museet för manifestation vid byggstarten av nya Moderna Museet. Touchdown (1995) Ett intermediaverk för dansare, bildspel, fyrverkeri samt mycket avancerad ljus- och ljudteknik. En beställning från Svenska Rikskonserter, Kulturrådet och Hultsfredsfestivalen till Hultsfredsfestivalens tio års jubileum den 11 augusti 1995. Jit-Trans (1997) För ballet av koreografen Ulrika Vedin. Premiär vid Moderna Dansteatern 8 oktober 1997 och därefter turné i sverige. Unzipping the sky (1998) för midigitarr och dator till grävskopeballet för Dans runt stan/kulturhuvudstadsåret 1998. Cybofon (1999) Ett Musik Gävleborgs beställningverk av ett interaktivt elektroakustiskt lekrum för barn. Be Bop (2002) Ett Musik Gävleborgs beställningverk av ett interaktivt rum för EAM, även livesänt på internet, med uruppförande i april 2002 på Länsmuseet i Gävle. Spinn, ett ljudoratorium för spinnmaskiner (2003) Ett beställningsverk för Musik i Väst med uruppförande i september 2003 på textilmuseet i Borås. Wij (2003) Ett beställningsverk för Musik Gävleborg med uruppförande i augusti 2003 vid första spadtaget för lantbruksparken vid Wij trädgårdar i Ockelbo. Plays Bnunc för laptop och live-elektronik. Uruppförande vid Norbergsfestivalen 2007. Framföranden; HZ07 Stora Gasklockan Gävle, SEAMS laptop konsert 07 Fylkingen Stockholm, Café des arts 07 Annecy (FR), ElektroMediaWorks07 (GR). Musik för video/bildspel Wind Jumping för video och tonband (1991). Till en video av konstnären Gunnel Pettersson. Herr H:s pelare (1995) Musik till en videoinstallation av konstnären Peter Svedberg, Stockholm Art Fair 1995. Zig zaggin´ about (1995) En video för Filmhögskolan i Göteborg i samarbete med filmaren Joel Olsson. Voyager (1995) Musik till en dansfilm med koreografi av Jens Östberg. En beställning för NIKE, SVT, Cowboy (1996) Musik till en videoinstallation för utställningen Uthärda, Kulturhuset. Nästing (1996) Musik till ett bildspel av Inger Arvidssson.