Jens Hedman is a long time established name in Swedish electro-acoustic music. His music has been performed at festivals, concerts and on radio all over the world and has received several important prizes in international music competitions. Hedman composes both instrumental and electro-acoustic music as well as sound art. He often combines his music with other artistic expressions, collaborating with writers, visual artists, choreographers and architects. To Hedman the spatial content of music is very important and many of his works explore space and movement utilizing multi-channel techniques. He has also participated in several collaborate compositions together with other composers.

He has been teaching at Elektronmusikstudion (EMS) in Stockholm for more than 20 years as well as at IDKA, Kapellsbergs music school and workshops in many countries. He was president of the Society for Electro Acoustic Music in Sweden (www.seams.se) 2001-08. Hedman studied EAM-composition at the Royal College of Music in Stockholm and sound art at Stockholm Academy of Dramatic Arts.

CV
Kim Hedås (f. 1965) är tonsättare, utbildad i komposition vid Kungliga Musikhögskolan i Stockholm. Hennes musik har spelats av bl a Sveriges Radios Symfoniorkester, Göteborgs Symfoniker, NorrlandsOperans Symfoniorkester, Malmö Symfoniorkester, Gageego!, Pärlor för svin, Kroumata, VOX, DalaSinfoniettan och GöteborgsOperan. Hon arbetar även med elektroakustisk musik och samarbetar gärna med andra konstnärer inom teater, konst och arkitektur. Under de senaste åren har hennes musik framförts på bl a Göteborgs Konserthus, NorrlandsOperan, Moderna museet, Kulturhuset, Färgfabriken, Arkitekturbiennalen i Venedig, Kivik Art Centre, Teater Galeasen och Dramaten.

I september 2013 disputerade Kim Hedås vid Konstnärliga fakulteten, Göteborgs universitet med doktorsavhandlingen Linjer. Musikens rörelser – komposition i förändring. Kim Hedås är även anställd vid Kungliga Musikhögskolan som professor på Institutionen för komposition, dirigering och musikteori.

Mer information och ljudlänkar på http://www.kimhedas.se

Katt Hernandez flyttas till Stockholm under 2010. Hon bodde på Boston och Philadelphia under flera år förut, där hon spelade impromusik och andra musik på violin, producerade konserter och arbetade på flera "artspaces" för music och experimentella konst. Hon kom snabbt att arbeta med flera nya projekt i Stockholm däribland The Schematics, Yun Kan 10, Klas Nevrin Ensemble och flera andra kollaborationer. Katts arbete som tonsättare under sista fler år har fokuserat på stycken som utnyttjar fältinspelningar, modulsynth, supercollider, röst och violin. Hon har gjort multikanals stycken, stereo stycken och installationer med denna materiell. Hon har börjat även skriva för violin, tas ut från sin 25 års praxis som improvisator på instrument. Hon har sträckt extended tecniques gränserna inspirerade av sin kollaborationer med en bred spektrum av musiker och andra konstnärer från varje genre man kan föreställa sig. Hennes violin arbete har innehållit den akustisk emulation av elektroakustisk instrumenter och den kartläggning av ljud utbredning genom flageoletter och andra ovanlig teknik och akustik artifakter. Katt fått sin Mastersexamen i Komposition, EAM på KMH under 2014, och skall börja Doktorandtjönst i Musikgestaltning på Musik Akademien i Malmö och Lund Universitet under 2015. Hennes kompositioner har spelat på Audiorama, Fylkingen, Norberg festival och Sveriesradio, samt andra lokaler. 

Katt Hernandez moved to Stockholm in 2010, after living in the Boston and Philadelphia areas for many years, playing improvised and various other sorts of music on the violin, producing shows, and helping to run venues. She quickly became involved in many new projects, including The Schematics, Yun Kan 10, Klas Nevrin Ensemble and many other collaborations. Katt’s compositional work during the last few years has been focused upon works which utilize field recordings, modular synthesizers, supercollider and violin. She has made multi-channel works, stereo works, and installations with these materials. She has also begun writing for the violin, drawing on her 25 years of experience as an improviser on the instrument, wherein she has stretched the boundaries of extended techniques through collaboration with a host of musicians and other artists from every thinkable genre. Her violin work has involved, among other things, the acoustic emulation of electronic instruments and the exploration of sound extension through harmonics and other artifacts. Katt recently earned a Masters degree in Composition with a focus on EAM at KMH, and will begin a Phd program in Music at Musikakadamien in Malmö in 2015. Her compositions have been played at Audiorama, Fylkingen, Norberg festival and on the Swedish radio, among other venues. 

Black Sun (Graphic Score for GGR Betong and Örgryte Organ) - 2022

Ghost Installation: Tomteboda (sound installation) - 2021

Under stjärnvalvets drömmar (MIDI driven work for the 1926 Wuirlitzer Unit Orchestra in R1) - 2021

Ghost Installation: Internationella biblioteket (sound installation) - 2021

Vart ska dom ta vägen nu? (Ambisonics radiophonic work) - 2020

Radio Ghost (violin, electronics, four radios and four radio transmitters) - 2019

Ghost Installation: Gärdet (sound installation) - 2019

Vädersolsmodernitet (x.1 fixed media work) - 2018

Walter Benjamin in Ulvsunda (x.1 Electronics, Mixer Diffusion, Violin and Voice work) - 2018

Skogen är bäst på bild (double stereo radiophonic work) - 2017

Ghost Prelude (Organ - composed in equal collaboration with organist Karin Johansson) - 2016-17

Deuterium: Dome of Visions (nyckelharpa, vevlira, F# violin) - 2016

Virvelns Trädgård (Installation work) - 2016

Orogenesis (x.1 fixed media) - 2016

SO(U)LENSKIN(NER (solo F# violin) - 2016

Deuterium: Mimer (nyckelharpa, 2 vevlira, F# violin  - 2015

Mimer: Unsleepless (stereo fixed media for headphone installation) - 2014

Sånger för Spökkvarteren, Stockholm (8 channel tape piece) - 2014

Norra Bantorget (x.1 fixed media electroacoustic work) - 2013

Dissociate (stereo fixed media work) - 2012

Four Compositions (in collaboration with The Schematics, Violin, Bass Clarinet, Electronics) - 2011

String Dances (for West Philadelphia Orchestra, with support from American Composers Forum) - 2008-2010

Flight (for solo violin, written for a shadow-show by screen-print artist and puppeteer Erik Ruin) - 2009

Unlovely (Solo Violin) - 2008 

Jenny Hettne föddes 1977 i Göteborg och är numera bosatt i Stockholm. Hon har studerat komposition för bland andra Henrik Strindberg, Ole Lützow-Holm, Jörg Mainka och Bent Sörensen. Hon har en masterexamen i komposition från Högskolan för Scen och Musik vid Göteborgs universitet.

     Jennys komponerande fokuserar på ett innovativt klangutforskande, ofta i nära samarbete med musiker. Hon komponerar för såväl orkester som mindre besättningar, ibland i kombination med elektronik. Hennes akustiska musik är starkt influerad av elektroakustisk musik och vice versa.

     Jennys nära samarbete med eminenta musiker såsom Sören Hermansson, horn, Jörgen Pettersson, saxofon, Karin Hellqvist, violin, Mårten Falk, gitarr och Robert Ek, klarinett har resulterat i specialskrivna soloverk för dessa. Jennys kammar- och orkestermusik har framförts av bland andra Caput, Duo Harpverk, Tui Hirv (Island), Sámal Petersen (Färöarna), Sori Choi, Busan Metropolitan Traditional Orchestra (Sydkorea), The Griffyn Ensemble (Australien), RIOT Ensemble (UK), New European Ensemble (Nederländerna), Pauline Kim Harris (USA), Ashley Walters & Lynn Vartan (USA), Teemu Mastovaara & Felix Stachelhaus (Finland/Tyskland), Alicja Pilarczyk (Polen), Malmö Symfoniorkester, Jönköpings Sinfonietta, KammarensembleN, Gageego!, Norrbotten Neo, Ensemble Mimitabu, Ensemble MA!, Gothenburg Combo, UmeDuo, Faint Noise, Duo Ego, Jonny Axelsson och The Peärls Before Swïne Experience.

Jennys musik har framförts på festivaler som Seoul International Computer Music Festival, Purpur Festival (Kapstaden), MATA festival (New York), CWU New Music Festival (Ellensburg, USA), Huddersfield Contemporary Music Festival, ISCM World Music Days Tallinn, Two days and two nights of new music (Odessa, Ukraina), Festival Archipel (Genève), St Petersburg International New Music Festival reMusik, Dark Music Days (Reykjavik), Nordic Music Days (Stockholm, Köpenhamn, Tórshavn, Reykjavik), Klang (Köpenhamn), Sonic Festival (Köpenhamn), Vendsyssel festival (Ålborg) och de svenska festivalerna Kalv, Frontside, Kontinent Dalsland, Festivalen NYTT, Sound of Stockholm och Svensk Musikvår.

Solo and solo with electronics:

As they flutter about (2023)

amplified bass clarinet and tape.

Written for Robert Ek. Premiered by Robert Ek 2023 in Umeå.

Whose footstep is that paulownia leaf (2021)
7-stringed Russian guitar and objects.
Written for Mårten Falk. Premiered by Mårten Falk 2022 in Tumba. Durata: 7'

Susurrant metal, singing rocks (2020). 

violin, objects and electronics.

Written for Karin Hellqvist. Premiered by Karin Hellqvist 2021 in Århus. Durata: 11'

Rop, böljande (2019)
horn, objects and tape.
Written for Sören Hermansson. Premiered by Sören Hermansson 2019 in Stockholm. Durata: 8'

While the heart's heartbeat beats its old song, the harp version (2014/2017)
amplified harp and tape.
Written for Katie Buckley. Premiered by Katie Buckley 2017 in Reykjavik. Durata: 11'

While the heart's heartbeat beats its old song (2014)
amplified bass saxophone and tape.
Written for Jörgen Pettersson. Premiered by Jörgen Pettersson 2014 in Stockholm. Durata: 11'

While she was dreaming (2012)
amplified violin and tape.
Written for Karin Hellqvist. Premiered by Karin Hellqvist 2012 in Ålborg. Durata: 9'

Ytor, böljande (2009)
percussion and mini loudspeaker.
Premiered by Jonny Axelsson 2014 in Leicester. Durata: 10'

Reed, chanting (2007-2008)
oboe and tape.
Written for Dimas Ruiz Santos. Premiered by Dimas Ruiz Santos 2007 (part I) and Magdalena Fonzcak 2008 (part II) in Göteborg. Durata: 13'

For Ashley (2003)
prepared piano and tape.
Premiered by the composer 2003 in Göteborg. Durata: 5'30"

Chamber music:

Ansikte mot ansikte (2022)
soprano and piano

Durata: 3'

Så talrika som bara två kan vara (2022)
cello and piano

Written for Cikada Duo. Premiered by Cikada Duo 2023 in Mosjøen, Norway. Durata: 10'

T(h)ree (2021)
voice, harp, percussion and electronics

Written for PermaTrio. Premiered by PermaTrio 2023 in Oslo. Durata: 10'

Whispering c(h)ords, quietly falling (2021)
clarinet, trombone, tuba, percussion, piano, violin, viola and cello

Written for RIOT Ensemble. Premiered by RIOT Ensemble 2021 in Huddersfield.

Durata: 12'

Stimme aus der Ferne (2020) 8’30″
flute, clarinet, percussion and piano

Written for Norrbotten NEO. Premiered by Norrbotten NEO 2021 in Stockholm. Durata: 8'30"

Swirls and Shades (2019)
for eight saxophones
Written for Stockholm Saxophone Quartet and Quasar Quatour de saxophones. Premiered by Stockholm Saxophone Quartet and Quasar Quatour de saxophones 2019 in Montréal. Durata: 10'

Trio (2018)
traditional korean percussion, piano and violin
Written for Trio Hellqvist/Choi/Amaral. Premiered by Trio Hellqvist/Choi/Amaral 2018 in Kalv. Durata: 8'

Sweet Thursday (2018)
two guitars.
Written for Gothenburg Combo. Premiered by Gothenburg Combo 2018 in Kalv. Durata: 4'30"

Ting and twine (2017)
harp and percussion.
Written for Duo Harpverk. Premiered by Duo Harpverk 2017 in Reykjavik. Durata: 6'30"

Bells and Tides (2016)
cello and percussion.
Written for UmeDuo. Premiered by UmeDuo 2016 in St Petersburg. Durata: 11'

Gesång (2015)
mezzo soprano, percussion and electronics.
Written for Duo Ego. Premiered by Duo Ego 2016 in Gävle. Durata: 11'

A swarm came in from the dark (2014)
violin solo and six instruments.
Written for Karin Hellqvist & Gageego!. Premiered by Karin Hellqvist & Gageego! 2015 in Stockholm. Durata: 12'

Tinkles, clinks and heavenly metal (2012)
amplified contrabass recorder, violin, sound objects and electronics.
Written for Faint Noise. Premiered by Faint Noise 2013 in Copenhagen. Durata: 10'

Paths of wood and pearl (2010)
flute, violin, cello and piano.
Written for Pärlor för Svin. Premiered by Pärlor för Svin 2011 in Stockholm. Durata: 5'

Wavering wood, whirling metal (2009)
harp and percussion.
Written for Duo Harpverk. Premiered by Duo Harpverk 2009 in Reykjavik. Durata: 9'

Reed, undulating (2008)
clarinet, violin, cello and piano.
Premiered by Beatrice Seyzeriat, Stephanie Mulot, Odd Sonntag and Antonio Hallonberg, conducted by Rei Munakata, 2008 in Göteborg. Durata:11'

Backdrifting (2006)
flute, trombone, percussion, piano/harmonium and cello.
Written for Gageego! Premiered by Gageego 2006 in Göteborg. Durata 9'

Orchestra:
Whirli(gigue) (2016)
symphony orchestra.
Written for Malmö Symphony Orchestra. Premiered 2017 in Malmö, conductor: Leif Segerstam. Durata 7'

Krusning Skiktning (2013)
piano and orchestra.
Written for Per Tengstrand and Jönköpings Sinfonietta. Premiered 2013 in Jönköping, conductor: Hannu Koivula. Durata 21'

Reed, motion (2008)
symphony orchestra.
Premiered 2009 in Göteborg by Swedish National Orchestra Academy, conductor: Joachim Gustafsson. Durata 12'

Sand, tystnad (2006)
string orchestra.
Premiered 2006 in Växjö by Musica Vitae, conductor: Michael Bartosch. Durata 12'

Electronics:
Cracking People Up (2002)
tape

Oiseaux Electroniques (2001)
tape

Daniel Hjorth was born in 1973 in Laholm on the west coast of Sweden. He studied composition with Sven-David Sandström (Gotland School of Music Composition), Kent Olofsson, Javier Alvàrez and Hans Gefors (Malmö Academy of Music). He received his diploma in composition in 2001.

During 2002 he lived and worked at Akademie Schloss Solitude in Stuttgart, Germany.

In 1996 he won the Gotland Chamber Music Festival Composition Competition (with Blood, Death and Sexy Legs) and in 1997 the Composition Competition for the Swedish National Radio Symphony Orchestra (with Crop Circles). In 2000 he made an interactive sound installation, which attracted a great deal of attention on the city trams of Helsinki, Finland called STOP. Since 1999 he has been working closely with director Åsa Kalmér making electronic music for theatre, radio and TV (Self-Portraits of Unknown Men - 2003, To Mourn Linnea – 2004, Queen K – 2005 and War Turists – 2008 to mention a few).

In 2012 his Symphony no 1 (“Time Changes”) was premiered by Malmö Symphony Orchestra. In January 2014 his percussion concerto Drum for your life was premiered by Gävle Symphony Orchestra with Glenn Larsson as the soloist. The chamber opera Det Dybeste Sted (The Deepest Place) was premiered in the summer of 2014 and was selected to be shown at the Swedish Biennial for Performing Arts in 2015.

Besides working as a freelance composer he is teaching at Malmö Academy of Music.

Mansoor Hosseini har studerat komposition på Musikkonservatorium i Paris, Bryssel och kortare tid i Göteborg. Därefter läste han filmmusik på Göteborgs Universitet och filmmanus på Göteborgs Filmhögskola. Efter studier för George Aperghis blev han uppmuntrad att ägna sig åt teatral musikstil som till exempel Mauricio Kagel arbetat med.

2007 grundade Hosseini musikföreningen och Ensemble Themus i Göteborg, som har för avsikt att sprida konceptet teatral musik. Hans teatral musikverk är inspirerade av kampsport, modern dans och teater.

Som musiker är Hosseini fascinerad av improvisation och spelat slagverk med diverse ensembler av olika musikgenrer. Ibland använder han improvisationssystemet i sina kompositioner där han noterar musiken på så sätt att musikern får improvisera under vissa delar. En kontrollerad och noterad improvisation. Denna fascination ledde till att Hosseini började göra föreläsningar i ämnen musiknotation, komposition, komunikation mellan musiker och tonsättare, mellan musiker och musiknotation.

Hosseini har komponerat musik för violin & orkester, oboe concerto, blockflöjt concerto, stråkorkester, slagverksensemble, stråkkvartett, och fler kammarmusik och soloverk.

Johan started out as a pianist, studying at the Royal College of Music in London and eventually recording Bach’s Goldberg Variations. Since then he has taken a masters degree in composition for screen at the London College of Music and is currently finishing a composition masters at Malmo College of Music. In 2015 he was commissioned by the Financial Times to compose a new Christmas Carol (The Rune Carol), and he has composed for Norrköping Symphony Orchestra, Helsingborg Symphony Orchestra, Jönköping Sinfonietta, as well as various chamber music and EAM. Recently he was commissioned by Helsingborg Symphony Orchestra to write an octet and by the Stockholm Saxophone Quartet to write for them.

Passacaglia for orchestra (2021)
Lament for string orchestra (2021)
Superposition for large orchestra (2020)
The Shock Doctrine for orchestra (2020)
EXILE for double choir and solo cello (2016)