Ljudbio V, 2019

Slottsbiografen, söndag 10 februari 2019

Ljudbio V presenterar nyskriven elektronisk musik av femton kompositörer från hela världen. En surround-konsert för fyra högtalare kurerad av Thommy Wahlström och Girilal Baars.


Nicolas Marty

Une des chambres n’aurait presque pas de fenêtre (2016)

Nicolas Marty is a PhD student in musicology at Université Paris-Sorbonne and holds a Bachelor’s degree in psychology. His musicological work is interested in the study of listening to acousmatic music. He is junior lecturer in computer music at Université Bordeaux-Montaigne. He studied instrumental composition and acousmatic composition at the Conservatoire de Bordeaux (with Jean-Louis Agobet and Christophe Havel) where he earned his diplomas in 2016. He has been nominated in April 2016 president of the association Octandre for electroacoustic music in Bordeaux.

”On entrerait dans la maison et on se trouverait face à un couloir mal peint, mal décoré, couvert de traits de crayons laissés par un enfant, trop incrustés déjà pour se donner la peine de frotter les murs pour leur redonner leur gloire d’antan. La lumière restart éteinte, parce que l’ampoule aurait grillé le matin même, et dans presque toute la maison il y aurait des fils dénudés au plafond, en attente.” Roxane Villeneuve – L’aveugle


Anna Einarsson

Plats för drömmar

Drömmar, visioner – var uppstår de? Trådar som binder oss människor samman. I en tid då kommersiella krafter exploaterar våra önskningar, finns det fortfarande plats för drömmar? Dags att ta dem tillbaka, till det personliga, till dig och mig…

”Noterat” en dikt av W.Szymborska

Livet är enda sättet
att beväxa med löv, hämta andan i sanden, flyga upp på vingar;
att vara en hund,
eller stryka den över pälsen;
att skilja smärta
från allt som inte är det;
att få plats i händelserna,
ta vägen i vyerna,
leta reda på det minsta bland misstagen.
Ett enastående tillfälle
att minnas för en stund vad man pratade om
i den släcka lampans sken.


Katt Hernandez


Katt Hernandez moved to Stockholm in 2010, and rapidly began working with a great many artists and new music organizations. In addition to solo violin work, she co-founded The Schematics and Deuterium Quartet, and has worked with a host of musicians and others in Sweden’s improvised, electronic and experimental music scenes. Katt earned a Masters degree in Electroacoustic Composition from the Royal Music Academy of Sweden in 2014. In 2015 she began a PhD in Music at Lund university, and is also employed at the Royal Music Academy as part of Klas Nevrin’s research project Musik i Oordning.

Vädersolsmodernitet was composed from June 2017 – July 2018 in the electronic music studios at the Royal College of Music. It was originally made for a 13.1 configuration, and is built entirely from field recordings and Buchla sounds, and depicts the city of Stockholm in the throes of transformation, historic, imagined and present. The work is part of a group of compositions that make up the bulk of Katt’s PhD project, The Ephemeral City. For this concert, one of the two sections will be played.


Clemens von Reusner

Anamorphosis (2018)

Clemens von Reusner (b 1957) is a composer and sound artist based in Germany, whose work is focused on electroacoustic music. He studied musicology and music – education – drums with Abbey Rader and Peter Giger. At the end of the 1980s development of the music software KANDINSKY MUSIC PAINTER. Clemens von Reusner is a member of the German Composers’ Society (Deutscher Komponistenverband, DKV), the German Society for New Music (Gesellschaft für Neue Musik, GNM) and of the German Society For Electroacoustic Music (Deutsche Gesellschaft für Elektroakustische Musik, DEGEM). He also worked as a curator and served as a jury member at international electroacoustic festivals. 2017 release of the CD XV of DEGEM, curated by Clemens von Reusner.

Anamorphosis involves the processing of two contrasting structures, which are exposed in the first part of the composition. One has more gestural character, the other appears more textured. Both structures are based on a brief sound of a wooden door, which, however, does not appear in its original form during the course of the composition. Instead the structural nature of this basic material, especially the fast repetitions changing in time, leads to spectral and temporal variants of these structures, which are tonally developed in the second and third, more reprise-like sections of the composition.


Mirjam Tally

In the bottomless hollow of the winter sky (2016).

Mirjam Tally is a Estonian/Swedish composer living on Gotland island since 2006. She graduated from the Estonian Academy of Music in 2000 as a student of Lepo Sumera. In 2009–2010 she was Composer in Residence at Swedish Radio’s P2 channel. She has written works for many Swedish and international musicians. In 2008, she received the Little Christ Johnsson Prize of Kungliga Musikaliska Akademien (Sweden), for her orchestra work Turbulence. Her music has been performed in over 20 countries. She has written music ca 20 years for different instrumentations, including electroacoustic works. In 2017, she was composer in residence at Studio Acusticum, Piteå, and at Västerås Sinfonietta. www.mirjamtally.com

In the bottomless hollow of the winter sky (2016). The musical material is based on recordings of extended techniques of (baroque) violin, performed by Halla Steinunn Stefánsdóttir. The title is a fragment of a poem by Kristiina Ehin, the Estonian poet, and describes best the character of that work. For instance, rustle tones on violin body that sounds like steps in snow, etc. Most of the musical material is recorded in Studio B at Inter Arts Centre, Malmö, Sweden and mixed in Studio Alpha at Visby International Centre for Composers. Other recorded sounds: a fence with contact microphones (by Halla Steinunn Stefánsdóttir), vocal sounds and metal constructions (by Mirjam Tally).


Lars Bröndum

Chimera Cadence

Lars Bröndum (PhD) is composer and musician. Lars composes music for chamber ensembles, orchestra music and electroacoustic music. Lars also runs the independent record company Antenna Media and is a senior lector in music at Högskolan i Skövde. Bröndum’s music is available online at iTunes, Spotify etc. and on CD at antennemedia.se. Scores are available on swedartmusic.com. More info: antennaemedia.se

Chimera Cadence is structured as several prolonged cadences. It is inspired by imagery of static, silent and ominous Chimeras watching down at us from towers high above. The piece is a 4.1 channel mix of the opening track on the CD Chimera Cadence, released in October on Antennae Media label. The piece is composed by Lars Bröndum with modular synthesizers, a Buchla Music Easel, percussion and violin and it also features the voice of Barbara Bröndum.


Julia Norén

Ungodly Destruction

Text/Sound composition about life and death, love, reckless abandonment and emptiness.


Pär Johansson

Höstgäld (2018)

Pär Johansson (f 1972) komponerar elektronmusik och arbetar som musikbibliotekarie. www.parjohansson.se

Höstgäld ingår som tredje del – kanske ett scherzo? – i den årstidscykel, som inleds med Vårspel (2017) och avslutas med Vinterglädje (2014).


Yvette Janine Jackson


Yvette Janine Jackson is a composer and sound installation artist who combines electroacoustic music, improvisation, and voice to focus on historical events and contemporary social issues.

Swan is a radio opera without words that unfolds in three scenes: it opens aboard the tall ship Swan transporting Africans to the Americas and gradually morphs into a spacecraft headed to freedom.


Helene Hedsund

AirIac, 2018, 4 kanaler

Helene Hedsund är för närvarande doktorand vid University of Birmingham, UK. Hon har varit verksam på EMS (www.elektronmusikstudion.se) sedan 1990-talet och har ett förflutet i depprockband som Nevskij Prospekt.

AirIac är ett instrument och en samling ljud från Linköpings flygverksamhet hämtade från http://www.soundsofchanges.eu/. Stycket och instrumentet skrevs under en arbetsvistelse på ”Inter Arts Center” i Malmö, inför en konsert på Linköping Flygmuseum i maj 2018.


Thommy Wahlström

2018 invention for EA no.12

Tonsättare inom nutida konstmusik och EAM. Musiker inom improviserad musik, folkmusik och halvjazz. Utbildad i komposition/EAM på Gotlands Tonsätttarskola, Musikhögskolan i Stockholm. Lärare: Bill Brunson, Karin Rehnqvist, Henrik Strindberg, Lars Ekström, Johan Hammerth, Per Mårtensson. Hans musik har blivit framförd i Sverige, Europa och USA.

— Jag är mycket intresserad av subtila samspel i alla musikaliska sammanhang och utvecklar sakta min konst som är av blandningar av akustiska instrument och elektroakustiska ljud samt ren EAM. Utvecklar sedan några år tillbaka ”Alternativ representativon av ljud och musik” som resulterar i grafiska partitur och även rörliga notbilder.

2018 invention for EA no.12 är ett stycke som kan betraktas som en slow-motionsekvens av en varm dåsig eftermiddagsslummer i en slänt på kullarna utanför Wien, eller varsomhelst.


Thomas Bjelkeborn


Thomas Bjelkeborn, is 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. He has performed compositions on all continents.

Unplucked (2009) originated from an acoustic guitar in search for the sounds beyond the tradition of the instrument. The recording sessions was somewhat electrical, yet very unplugged, with no strings plucked. The sounds where sqeezed until they gasped for their acousmatic breath. The artificial acoustics in Unplucked is used in a transition between an apparent room within a room and a spacial guide pointing towards the illusion of acousmatic movement. The mind should not be trusted to reveal the acousmatic truth of this work, it’s illusive. Unplucked was composed at NOVARS research center Manchester during an Artistic Residency 08/09 with the support from Helge Ax:son Johnsons Stiftelse.


Gilles Gobeil

Descente au tombeau (Descent to the grave)

Since 1985 Gilles Gobeil has concentrated on the creation of acousmatic and mixed works. His compositions approach what is known as ”cinéma pour l’oreille” (cinema for the ear); many of them are inspired by literary works and seek to ”visualize” them through the medium of sound. Winner of numerous prizes in Canada and abroad, Gobeil has been Composer-in-Residence at The Banff Centre, Bourges, EMS Stockholm, GRM, Hochschule Franz Liszt, PANaroma, ZKM and was Guest Composer of the DAAD’s Artists- in-Berlin Programme in 2008.

Descente au tombeau is the second section of a longer composition named Ombres, espaces, silences… commissioned and realized at the ZKM in 2005. The composition was award an Honorable Mention at the Prix Ars Electronica (Linz, Austria) in 2005.


Girilal Baars

R******d (2018, premiere)

Är tonsättare, vokalist, musiker och ljudkonstnär. Han komponerar och framför musik som ofta utgår från hans erfarenheter av vokala folkmusik traditioner och nutida experimentell konstmusik. Noderna i hans skapande spänner från strikt notation till fri improvisation, rent akustisk till elektronisk musik och från traditionell sång till specialiserade röst tekniker. Det senaste året har han bl.a. medverkat i en operauppsättning på Folkoperan, i en Marina Abramovich performance på Moderna Museet, haft premiär på en stråktrio, en saxofonkvartett och ett flertal kortfilmer med hans musik.

R******d är ett stycke för förkastade ljud. Ljud som filtrerats och klippts bort för att de inte är välkomna, saknar sex-appeal eller har fel estetiskt ursprung. Styckets quadrofoniska format kan betraktas som en kommentar till fyrkantigt tänkande.


Rikharður H. Friðriksson

…e mezzo

Ríkharður H. Friðriksson makes either pure electro-acoustic music, working with natural sounds and their movement in space, or improvising on electric guitar with live electronics. He teaches composition and electronic music at Iceland University of the Arts. In his spare time he plays punk rock.

After realizing I would miss a deadline for a large work, I decided to make a smaller one to have something to present. This is it, and the title refers to this half-way point. The material is human sounds, mostly generated in the mouth or its vicinity. The recordings were made in Kopavogur, sound-material was made in California, the composition took place in New York and Reykjavik, and the mix-down back in Kopavogur. The process thus came to a full circle in the end.