Utbildning: 
- Komposition vid Högskolan för Scen och Musik i Göteborg.

- Idégestaltning med inriktning ljudkonst vid Göteborgs Konstskola

Konstnärlig inriktning:

- Arbetar med bl.a. konceptuell notation för ensemble, EAM, noisemusik, ljudkonst samt komponerat musik för dans, film, mode och teater.

F.d. styrelseledamot i FST
Tonsättare, arrangör och musiker. Född 1962 i Stockholm, göteborgare sedan drygt 25 år. Ett par milstolpar i karriären: 

• Operan Bombpartyt 1998, Göteborgsoperan
• Orkesterverket Sambal Dente 2002, Göteborgs Symfoniker
• Musiken till TV:s julkalender En decemberdröm 2005
• Ordförande i föreningen Levande Musik 2005-09
• Radiooperan Hittekvinnan 2006 (1:a pris i Prix Italia)
• Composer in Residence Helsingborgs Symfoniorkester 2006‑09
• JÅTPÅMF - en skidodyssé i 5 satser för andfådd sopran, uruppförande under Tjejvasan 2010
• Composer in Residence Göteborgs Symfoniker (GSO Puls) 2011-13
• Operan Kärlekskriget 2017, Vattnäs Konsertlada
• Körverket Äggen är slut 2017, Röda Sten Konsthall

Drev i FST främst frågan om synen på tonsättaren som yrkesmänniska. Ledamot i Kungliga Musikaliska Akademien. F.d. ledamot i det första konstnärliga rådet, Statens musikverk. Medlem i FST sedan 1999, medlem i KVAST och SKAP. Skriver musik dagligen i ett f.d. kokstorn* vid Nya Varvet i Göteborg. Dansar och debatterar gärna, men kanske inte samtidigt.

*I "kokstornet" förvarade koks till mskinarne som drev fartygen vid Nya Varvet under sebt 18 och tidigt 1900-tal.

Rolf Martinsson serves as professor of composition at the Malmö Academy of Music and is a Fellow of the Royal Swedish Academy of Music.

The world premiere of “Bridge – Trumpet Concerto”, dedicated to and premiered by Håkan Hardenberger, led to the international scene and the concerto has been frequently performed since the premiere by the commissioner Gothenburg Symphony Orchestra/Neeme Järvi in 1999. Bridge was followed by a row of solo concertos, dedicated to a number of soloists and written with their special skills and personality in mind. “Fairlight – Trombone Concerto”/Christian Lindberg, “Cello Concerto”/Mats Lidström, “Shimmering Blue – Flute Concerto”/Magnus Båge, “Violin Concerto”/Jan Stigmer, “Concert Fantastique – Clarinet Concerto”/Martin Fröst, “Double Bass Concerto”/Dan Styffe, “Golden Harmony – Soprano Saxophone Concerto”/Anders Paulsson and “Soundscape – Horn Concerto”/Felix Klieser.

After the premieres the concertos have been picked up by other soloists: Bridge/Ole Edvard Antonsen, Giuliano Sommerhalder and Per Ivarsson, Fairlight/Jörgen van Rijen, Concert Fantastique/Magnus Holmander and Double Bass Concerto/Edicson Ruiz and Gunars Upatnieks.

The longstanding successful collaboration with Swedish soprano Lisa Larsson has led to major international commissions and premieres and marks a vocal milestone in Martinsson’s production. The revised edition for soprano of “Orchestral Songs on Poems by Emily Dickinson” initiated the collaboration that was followed by “To the Shadow of Reality” for soprano, solo violin and string quartet, “Garden of Devotion” for soprano and string orchestra and “Ich denke Dein...” for soprano and orchestra, jointly commissioned by Tonhalle-Orchester Zürich, Netherlands Philharmonic Orchestra, Philharmonia Orchestra, Helsinki Philharmonic Orchestra and Gothenburg Symphony Orchestra. The following collaboration “Into Eternity”, for soprano and large orchestra, was commissioned by Malmö Symphony Orchestra/Marc Soustrot for the inauguration of the new concert hall Malmö Live in 2015. Lisa Larsson has also been evangelist many times in Martinsson’s St. Luke Passion and she also had that role at the world premiere of the German version of St. Luke Passion, with Bach Collegium Zürich/Bernhard Hunziker.

Martinsson has been internationally recognized for his orchestration skills, and another important part of the collaboration with Lisa Larsson are his vocal arrangements. Lisa Larsson has created two unique concepts: “Traumreise”, on songs by Franz Berwald, commissioned and premiered by Tonhalle-Orchester Zürich/Lahav Shani and “Hommage an Clara”, on songs by Clara Schumann, commissioned and premiered by Malmö Symphony Orchestra/Juraj Valčuha, both pieces scored for soprano and orchestra and premiered by Lisa Larsson in Martinsson’s orchestrations. Additional orchestrations as part of the collaboration are: “Walzer-Gesänge Op. 6”/Alexander von Zemlinsky, “L'amerò sarò costante"/Wolfgang Amadeus Mozart, "Infelice"/Felix Mendelssohn and “Two Songs”/Wilhelm Stenhammar, orchestrated for soprano and orchestra. The collaboration also includes four composer portraits – at BIS, Challenge Records and Daphne labels.

The vocal repertoire has been picked up by other sopranos such as Elizabeth Llewellyn, Hanna Husáhr, Ivana Lazar, Hester Henzepeter and Kristine Nowlain. The mezzo-soprano version of Orchestral Songs on Poems by Emily Dickinson was written for and premiered by Anne Sofie von Otter, Malmö Symphony Orchestra and Vassily Sinaisky and Martinsson’s commission from the Cello Biënnale Amsterdam 2014 for soprano, cello and string orchestra was premiered by Lisette Bolle, Jakob Koranyi and Netherlands Chamber Orchestra under the direction of Bas Wiegers.

Another chapter in Rolf Martinsson’s writing is his orchestral works. “Dreams”, “Concerto for Orchestra”, “Open Mind”, “Shimmering Islands”, “Tour de force”, “Opening Sounds”, “Poem for Orchestra”, “Impression”, “Chamber Concerto No. 2” and the string orchestra pieces “A. S. in Memoriam”, “Kalliope” and “String Moments”.

Martinsson was featured composer at Stockholm International Composer Festival in 2008 and has been Composer in Residence with Netherlands Philharmonic Orchestra and Netherlands Chamber Orchestra at Concertgebouw and with Malmö Symphony Orchestra among others. His collaborations have led to performances in venues such as Carnegie Hall/New York, Musikverein and Konzerthaus/Vienna, Philharmonie and Konzerthaus/Berlin, Gewandhaus/Leipzig, Concertgebouw and Muziekgebouw/Amsterdam, Royal Festival Hall and Wigmore Hall/London, La Philharmonie/Paris, Salzburger Festspielhaus, and Suntory Hall, Opera City Hall and Metropolitan Art Space/Tokyo.

Rolf Martinsson's music is performed by orchestras such as Cleveland Orchestra, Pittsburgh Symphony Orchestra, Boston Symphony Orchestra, Detroit Symphony Orchestra, Melbourne Symphony Orchestra, BBC Symphony Orchestra, City of Birmingham Symphony Orchestra, Academy of St Martin in the Fields, Bamberger Symphoniker, Gewandhausorchester Leipzig, NDR Elbphilharmonie/Hamburg, Rundfunk-Sinfonieorchester Berlin, Deutsche Radiophilharmonie Saarbrücken-Kaiserslautern, Tonkünstler-Orchester, ORF Radio-Symphonieorchester Wien, Netherlands Chamber Orchestra, Amsterdam Sinfonietta, Scottish Chamber Orchestra, Stuttgart Chamber Orchestra, Avanti, Tapiola Sinfonietta, Sinfonietta Riga and all the major Nordic orchestras in collaboration with conductors such as Andris Nelsons, Manfred Honeck, Sakari Oramo, Alan Gilbert, Edward Gardner, Andrew Manze, John Storgårds, Jukka-Pekka Saraste, Klaus Mäkelä, Santtu-Matias Rouvali, Antonello Manacorda and soloists such as Hans Pålsson, Wissam Boustany, Peter Jablonski, Francisca Skoogh, Jacques Werup and Helen Jahren.

Martinsson studied teaching, music theory and composition 1975-1985 at the Malmö Academy of music, Lund University. His teachers among others were Brian Ferneyhough, Sven-David Sandström, Sven-Erik Bäck, Sven-Eric Johansson, Hans Eklund, Jan W. Morthenson and Sten Ingelf. In addition to being a devoted composer Martinsson is a dedicated chess player.

Rolf Martinsson has received the awards "Stora Christ Johnson-priset", "Rosenbergpriset" and "Litteris et Artibus". His music is represented at some 30 CDs. Several European orchestras have toured his music internationally and his works are frequently present at music festivals such as Robeco SummerNights at Concertgebouw, George Enescu Festival, Reingau Music Festival, Kissinger Sommer, International Chamber Music Festival Stavanger, Båstad Chamber Music Festival, Lyckå Chamber Music Festival among others. Future commissions include an opera, “Amy”, for the Royal Swedish Opera in Stockholm, a “Requiem” for Växjö Domkyrka among other commissioners and “Symphony No. 1” for the Royal Stockholm Philharmonic Orchestra.

ORCHESTRA

• Chamber Concerto No. 2

• Concerto for Orchestra

• Dreams

• Impression

• Open Mind 

• Opening Sounds

• Poem for Orchestra No. 1

• Shadowed Pitch

• Shimmering Islands

• Tour de force

• Variations for Orchestra

WIND ORCHESTRA 

• Wind Layers

CONCERTO

• Airy Flight

• Bridge - Trumpet Concerto

• Cello Concerto

• Concert Fantastique - Clarinet Concerto 

• Dawning Landscapes

• Double Bass Concerto

• Fairlight - Trombone Concerto

• Golden Harmony - Soprano Saxophone Concerto

• Shimmering Blue - Flute Concerto 

• Soundscape - Horn Concerto

• Violin Concerto

STRING ORCHESTRA

• A. S. in Memoriam 

• Kalliope

• Rondo

• String Moments

OPERA

• Amy

PASSION

• Lukaspassionen

VOICE AND ORCHESTRA

• Evighetsland

• Ich denke Dein... 

• Into Eternity

• Orchestral Songs on Poems by Emily Dickinson

• Silvernatten

• Vid tidens slut

VOICE AND STRING ORCHESTRA

• Forlorn

• Garden of Devotion

VOICE AND CHAMBER ENSEMBLE

• Garden of Chimes

• Gösta Oswald till minne

• Indiska sånger

• Japanska aforismer

• Japanska poem

• Rosen

• Septet for soprano and chamber ensemble

• Songs on Poems by Emily Dickinson

• Tag mig. – Håll mig. – Smek mig sakta.

• Tidig gryning

• To the Shadow of Reality

• Tre sånger

CHAMBER ENSEMBLE

• Carillon

• Clarinet Sextet

• Coloured Flames

• Duo for Violin and Cello

• Luminous Surface

• Monogram

• Quartet for oboe, clarinet, violin and cello

• String Quartet No. 1

• Suite Fantastique

• Suite for Woodwind Quintet

• Symbiosis

• Tics

• To the Point

• Triptyk

• Twilight

• Twins

• Whiz

SOLO

• Arpeggio

• Capriccio

• Exposé - Concert Fantasy

• Landscape

• New Colours

• Reflexer

PIANO 

• A. S. in Memoriam 

• Aquarius 

• Aries

• Gemini

• Leo

• Libra

• Pesces

• Prélude sans fugue

• Sagittarius

• Scorpius

• Taurus

• Virgo

ORGAN

• Chords and Bells

• Intermezzo

CHOIR 

• Clavis Paradisi

• Inspiration

• Månsånger

• Nattviol

• Tre miniatyrsånger

• Vid havet

• Vårsyn

• Öppna en väg

ORCHESTRATIONS

• From "Five Pieces in Folk Style, Op. 102" by Robert Schumann

• "Hommage an Clara" on Songs by Clara Schumann

• "Infelice" by Felix Mendelssohn

• "L'amero saro costante" by Wolfgang Amadeus Mozart

• "Songs" on Songs by Wilhelm Stenhammar

• "Traumreise" on Songs by Franz Berwald

• "Walzer-Gesänge Op. 6" by Alexander von Zemlinsky

Casey Moir is an Australian born, Swedish based vocal-artist, improviser, and composer of experimental music. Intrigued by unconventional sounds and extended techniques, the investigation into the multitude of sounding possibilities of the voice is central to her artistic practice. She also has a keen interest in discovering the sounding capabilities of objects, and the concept of space and room working often with the creation of spatial experiences.

With a Bachelor of Improvisation (2011) and a Master of Experimental Composition (2021) from the Academy of Music and Drama, Gothenburg, Sweden, she works both in the field of improvisation and experimental music as performer and composer.

* AIR (2023), 17min, for five voices, objects, movement, multi-channel fixed media, and room, premiered 5/11-2023 

* Eight Objects (2022), 15min, for solo performer, fixed-media, objects and performance, based on selected texts of Gertrude Stein (from Objects in Tender Buttons), premiered 10/2-2022

* Gertrude - This Happened (2021), 32min, for 5 voices, movement, objects and room, based on the complete texts of Gertrude Stein's play What Happened, premiered 3/12-2021 by Viva Vocal Ensemble.

* Whisperings (2021), min. 15min, for many voices, movement and room, premiered 3/12-2021 by Viva Vocal Ensemble and guests.

* MN (2021), ca.15min, for solo voice and effect pedals, premiered 28/9-2021.

* Boulevard (2021), ca.15min, for solo voice, premiered 28/9-2021.

* Modulations(2020), ca.15min, for 3-8 voices and room, 2021.

* Crackle Crunch Climate (2020), 13min, for objects, fixed-media, violin, cello, zither and room, premiered 30/9-2020 by Curious Chambers Players.

*Virus (2020), 4.57min, soud poetry for fixed media, premiered 7/6-2020

* Rotations and Slides (2019), 13min, for solo percussion, objects, effect pedals, spatialisation patches and 8 loudspeakers, premiered 14/1-2020.

* Outside In (2019), 31min, for 4 voices with effect pedals, 1 live electronics player and 12 loudspeakers, premiered 21/11-2019.

For several years I have been interested in how sound and space can relate with each other. How could the characteristics of a certain venue influence the composer's work and be implemented in the composition is a question that I tried to answer through several pieces as well as sound installations. I am particularly interested in venues which are not normally devoted to music performances such as museums, public buildings etc. whom architectures and acoustics could be musically exploited.

In the last four years I have gladly worked with writers and actors in projects where electroacoustic music, vocal performance and theatre could establish a hierarchy of equal importance. Between them can be named a radio-opera What's That? (with the support of SwedishArtsCouncil), a sound installation with one actress on the scene Babette – a dinner scene (based on Karen Blixen's Babettes Gœstebud) and Konvergens (funded by Kulturrådet, Kulturskåne and Författarfonden) for two actors, singer and electronics with live spatialization.

My work around space led my interest towards the open space of the city and the tradition of sound-walk. In my recent residences (InterArtsCenter at Lund University-Sweden and Tempo Reale, Florence-Italy) the soundscape of the cities of Copenhagen and Florence are morphed into compositions; the sound material, structure, poetry and impressions are derived from the recorded tracks. These residences are part of an ongoing project named Morphing the soundscape which aims to create a creative sound map of different cities in Europe.

I completed my music education in both Italy where I graduated in Piano, Organ and Composition at the "G.P. da Palestrina" Conservatory in Cagliari, and Sweden where I completed the master II in composition at the Lund University (Sweden) with Luca Francesconi.

I am currently organist in S.t Thomas church in Lund (SWE).

Useful link:

www.fabiomonni.com (personal website)

www.morphingthesoundscape.wordpress.com (ongoing project)

2019 –––––––––––––––––––––––––––

ESPOSTI AL LIBERO ASCOLTO for Choir, percussions, objects and electronic (28min) - commissioned by Ente Musicale Nuoro (IT)

2018 –––––––––––––––––––––––––––

A morphed soundscape of Florence for orchestra (10min)

Sospeso su una città di pietra II/b for tape (14min)

Sospeso su una città di pietra II/a for tape (10min) - commissioned by Tempo Reale (IT)

Morphing the soundscape project:

#Florence for tape and instructed listening experiences (32min) - commissioned by Tempo Reale (IT)

#Copenhagen for tape and instructed listening experiences (9min)

2017 –––––––––––––––––––––––––––

Della luce e dei suoi confini for tape (9min) - commissioned by Contemporanea Acusmatica, Udine (IT)

Konvergens for two actors, performer and tape (38min) - commissioned by Annika Nyman

Del buio e di altri luoghi for voice and tape (8min) - commissioned by Spazio Musica

mr potter 1am for objects, laptop and tape (4min)

2015 –––––––––––––––––––––––––––

What’s that? A radio-opera - dramat av Annika Nyman (32min)

2013 –––––––––––––––––––––––––––

Gloop-twice for trio, video and tape (13min)

POLI for orchestra (9min)

2012 –––––––––––––––––––––––––––

Den Tidlösa Gåvan short opera – libretto av Petra C Thyrvin (15min)

Ponti sospesi su uno stagno letterario for three percussionists (5min)

2010 –––––––––––––––––––––––––––

I sette messaggeri for alto and seven instruments (9min)

All my music exists in the imagined world of Delirium. Each new work reveals a place or event in this imagined world. There are no characters in Delirium, rather each piece is the music of the world – of the stones, of the forest, of the mountains. Included at the beginning of each score (presented as a “programme note”) is either a piece of poetry or poetic prose. These are central to the on going narrative of Delirium.

As each person listens to music, and indeed experiences art, from the perspective of their own lived experience, I, as the composer the music which I ask others to experience, can not dictate to another what they see, or indeed hear, in my music.

As such, the poetry or poetic prose is offered as a guide to the listener as to what I experienced while constructing and writing the piece and what I wish to express through a given piece. To what end? As with all art, to communicate my own lived experience and to connect with those that experience my music.

Delirium is my own contribution to what I believe makes Irish Art unique – our long and storied tradition of storytelling. I wish to tell stories with my music but not those of swashbuckling heroes or great legends of fat monarchs. Rather, I present a dark, dangerous and beautiful world. Latent in each piece of Delirium exists a criticism of our shared reality – something, as a queer artist, is of central importance to my work.

Only in the spirit of Criticism can Art ever hope to aspire to the greatest ideal of Change.

Físeanna an Ghiorria - "Visions" (2023) - Órán Halligan [Piano]

Opaque Rhapsody - "Irish Holidays" (2018) - John Finucane [Clarinet] Elisaveta Blumina [Piano]