Percussion Plus

2018.02.14 - 2018.02.18
Gender
&
Regrowth
 Program

Welcome to Percussion Plus 2018!
We, and our schools KMH and SMI, wish you a great visit here in Stock-
holm experiencing new music, new relationships and the joy of meeting
with old friends. Thank you Elina Edblom, Cecilia Österholm, Per Sjöberg,
Anna Maria Koziomtzis, Cattis Eriksson and Ian Plaude for having made
this possible.
Saturday
-Let’s get started! KMH invites for lunch and dinner
09:30 - 10:15 KMH, Nathan Milstein-
salen
Joakim Anterot & Anders Holdar Hans-Kristian Kjos Sörensen – clinic
10:30 - 11:30 KMH, Kungasalen
Sabela Castro Rodríguez - solo recital
11:30 - 13:00 KMH, Erling-Pers-
sonatriet
Lunch
13:00 - 14:00 KMH, Kungasalen
Wednesday Tampere Conservatory/TAMK concert
16.00 KMH, Entrance Hall 14:30-15:15 KMH, Nathan Milstein-
Registration teachers salen
18.00 KMH, Entrance Hall 1E102 Sisu/PERCelle - clinic
Welcome Meeting, we look at the 16:00-17:00 KMH, Kungasalen
new house. Time for dinner and Se-Mi Hwang – solo recital
getting together 17:30-18:15 KMH, Nathan Milstein-
Friday salen
Vambola Krigul - clinic
SMI day
10:00 - 11:00 SMI 18:15-20:00 KMH, Erling-Pers-
sonatriet
Thursday Det Jyske Musikkonservatorium
11:30 - 12.15 SMI
Dinner
Teachers day 20:00 - 21:30 KMH, Kungasalen
Henrik Larsen – clinic
9.30 KMH, Entrance Hall Final Concert
14:00 - 15.00 SMI
Gathering
RDAM och Percurama Percussion
10.00 KMH, Room 1D221
Ensemble
Presentation
16:00 - 17:00 SMI
10.30 KMH, Room 1D221
Gender – A no problem?
12.30 KMH
SISU Percussion
20:00 - 21:00 Musikaliska Sunday
Djentophonic Ensemble (entré Concert day in collaboration with
Time for lunch SPiS
100 SEK for festival participants)
14.00 KMH, Room 1E207
(Percussion Teachers in Sweden)
Regrowth & the Future of the
10:00 - 11:00 KMH, Kungasalen
Festival. Sigrun Rogstad Gomnäs
Sunday Concert 1
& Fredrik Engdahl
11:30 - 12:15 KMH, Nathan
16.00 KMH, Entrance Hall
Registration students Milsteinsalen
Hwang Se-Mi – clinic
18:00 KMH, Erling Perssonatriet
Welcome drink 12:30 - 13:30 KMH, Kungasalen
Sunday Concert 2
19:00 KMH, Kungasalen
The Great Opening Concert 15:00 - 16:00 KMH, Kungasalen
Sunday Concert 3
 Thursday
The Great Opening Norwegian Academy of Music
Concert Ylva Rian Bråthen, Nora Sjøgren, Simen
Brenden, Åsmund Moen, Alexander Long
Krogh, Kristoffer Almås
19:00 Kungasalen
Artistic leaders: Tomas Nilsson and Rob
Music Schools in Stockholm: Väsby- Waring
taiokon
Teachers: Maria Olsson, Jesper Lagström, Mark Cement Pollard
n-
Jacob Johannesson, Jon Skäre The Heavenly Muzak Machine,
mov. 2
Speech by
Cecilia Rydinger Alin
Vice-Chancellor of KMH The Royal Danish Academy of Music,
Copenhagen
Speech by Anders Kann Elten, marimba
t Anna Maria Koziomtzis
Head of Department for classical music Domenico Scarlatti
Sonata K1, K98, K198
Royal College of Music in Stockholm
Anderas Nyström, Simon Tykesson, Simon
Landqvist, Henrik Wassenius, Rikard Johann Sebastian Bach
Markstedt, Pau Villa, Eric Lennartsson Prelude & Fugue
Artistic leaders: Daniel Berg and Joakim in C minor from
Anterot ‘The Well-Tempered
Clavier’
Torbjörn Ivan Lundqvist Anders Kann Elten
SISU (12’) Nicola Paganini, arr. J.Bridger:
Caprice no. 24
Estonian Academy of Music and Theatre
Ivo Lain, Kaspar Ernesaks,
Karl-Johan Kullerkupp
Norwegian Academy of Music
Artistic leader: Vambola Krigul
Minoru Kobashi
Helena Tulve A-Hun, mov.2 (8’)
Ma kuulsin sind
laulmas Intermission
(I heard you singing) (14’)
Sibelius Academy Royal College of Music in Stockholm
Aino Nisula, Elmeri Uusikorppi, Henri Sak- Nebojsa Jovan Zivkovic
ki, Jerry Piipponen, Karl Lattikas, Tiia Toivo-
nen, Touko Leinonen, Valter Witick, Joanne Uneven Souls (18’)
Chiang
soloist: Alexander Raknes Ulriksen
Artistic leaders: Antti Rislaki and Tim Ferchen
Torbjörn Iwan Lundquist was a famous
composer for film and TV. SISU, written for
Johanna Magdalena Beyer the Stockholm Percussion Ensemble 1976,
(1888-1944) is one of the Swedish standard pieces for
Percussion (12’) percussion.
Ida Fahl, one of the new generation young
Swedish composers, wrote the Meditation
á deaux 2017 for the the percussion group
Norwegian Academy of Music
Rhythm Art Duo.

Uneven Souls, composed 1992 by Nebojsa

Minoru Miki Jovan Zivkovic, was commissioned by is a
Toh (6’) piece whose title reflects the character of
the Slavic people from the Balkans and their
soloists: Nora SjøgrenYlva, Bråten Rian ”uneven” souls.

Mark Cement Pollard Helena Tulve is one on the most renowned

Estonian contemporary composers. Her
The Heavenly Muzak Machine, music is mostly described to have medita-
mov. 4 tive time flow, sound and structural coher-
ence as central agents. It also has impulses
from Oriental culture, Gregorian chant and
Royal College of Music in Stockholm European avant-garde music. This piece is
inspired by text by Estonian writer Tõnu Õn-
nepalu - poetry blog, where he shares his
Ida Fahl thoughts and feelings about Estonian nature
and the constant change of seasons.
Meditation á deaux (5’)
Eric Lennartsson, Daniel Berg The Heavenly Muzak Machine by Mark
Clement Pollard (b. 1957) is a work in 6
movements that was commissioned and
premiered by Speak Percussion (Melbourne).
Norwegian Academy of Music The composer says: ”it is inspired by heav-
Mark Cement Pollard enly sounds and the sacred and sometimes
machine like ritual of performance”. Three of
The Heavenly Muzak Machine, the six movements will be performed, scat-
mov. 6 tered throughout the program.

Minoru Miki (b. 1930) composed Toh in 1967.

It is part of a series of works which are heavi-
ly influenced by traditional Japanese culture.
The wood and skin instruments refer to the
musical tradition of the Noh theater, a form Estonian Academy of Music and Theatre
of classical musical drama that has been
performed in Japan since the 14th century.
In A-Hun, for five timpanists, Minoru Kobashi
(b. 1928) specifies precise choreography of
gesture and arm movement and many vo-
cal effects are incorporated. The piece was
composed in 1975.

Composer and pianist Johanna Beyer stud-

ied with Henry Cowell, Charles Seeger, Ruth
Crawford Seeger and Dane Rudhyar. Beyer
composed eight percussion ensembles be-
tween 1931 and 1943 and many of her works
reflect their ultra-modernist aesthetic. Per-
cussion from 1935 consists of 5 short move-
ments. Beyer was one of the first composers
to use non-specified instrumentation, so
the work has the possibility to use an in-
finite combination of color. The pieces are
by modern standards extremely simple in
terms of technique, but use, possibly for the
first time in percussion music, accelerandos
and ritenutos creating a constantly undulat- Norwegian Academy of Music
ing current of rhythm.

Royal College of Music

in Stockholm

Royal Academy of
Music Aarhus/Aalborg,
Denmark Sibelius Academy
Friday
between letters and sound, text and music,
Det Jyske one language and another.
Musikkonservatorium Loïc Destremau (b. 1992) is a French-Danish
composer based in Aarhus, working in the
space of instrumental and multi-media mu-
10.00 SMI sic in constellations from solo-performers to
Royal Academy of Music Aarhus/Aalborg, larger ensembles. The last years’ production
Denmark includes explorations in fields such as au-
Jonas Weitling, Ninna Morsing, Maria Rul- dio-visual perception, extended instrumen-
lestad Teigen, Marius Paschke, Eppu Hi- tal physiology, distorted folk music and lin-
etelahti, Carl David Österberg. go-musical semantics & phonetics.

Artistic leader: Henrik Larsen

Laura Bowler
Mansoor Hosseini One point (20’) (Scandinavian
Coffee Time (4’) Premiere)
Coffee Time, composed in 2010, was pre- Soloist- Henrik Knarborg Larsen
miered at Teatro Galileo by Neopercusion. One point is a collaboration between per-
It is a theatrical piece played with cups, cussionist, Henrik Knarborg Larsen, and
spoons, sugar, coffee machine and a table, British composer, Laura Bowler. This new
preferably amplified. It was originally com- 20 minute chamber percussion concerto
posed as a semi-improvised piece as part draws it’s central ideas from Henrik’s re-
of a longer music show, composed for his search into the application of Kí Aikido prac-
own group, the Themus Ensemble in Goth- tice to his practice as a Percussionist. This
enburg, Sweden. work aims to magnify the implications of this
Mansoor Hosseini, a Swedish avant-garde research physically and musically through
composer, studied composition at Paris Mu- an overtly physical work enhanced through
sic Conservatory, the Royal Music Conserv- the use of video and vocal amplification. The
atory of Brussels and at Gothenburg Music work will seamlessly incorporate the physi-
Conservatory. He also studied film music at cal movement from Henrik’s Aikido practice
Gothenburg University and script writing at into the musical language for the work. His
Gothenburg film University. Many of his art set up is purposely written to magnify these
films are about composers such as Witold elements, with an Aluphone placed central-
Lutosławski (Letter To L.) and Giacinto Scelsi ly between two orchestral bass drums and
(UFO, Unidentified Flashing Oscillations). gongs; these opposing instruments are then
used as a way to choreograph the move-
ment of Aikido into the musical material that
Loïc Destremeau
moves from one side to the other.
Typed-Tex-Tile (10’) The overall work explores the state of “the
(first performance) correct mind and the confused mind” as
documented in Takuan Soho’s, The Unfet-
2 percussionists, video & elektronics
tered Mind. Through revealing Henrik’s appli-
Marius Paschke, Carl David Österberg cation of the Aikido practice we will see the
“A translation is no translation, unless it will soloist emerge as a dominant and controlled
give you the music of a poem along with the musical metaphor set against the confusion
words of it”. The audio-visual and phonetical and chaos of the ensemble attempting to
construct in the Latin alphabet exaggerat- push the soloist to falter through violent
ed to the limit; thus distorting the border gestures of sound.
This concerto brings together two art forms, Siedler-Smuga and Amber Tzu-Chen), who
the practice of Kí Aikido, is an art in itself, premiered this composition on November 4,
and celebrates the constant development 2017 in Bytom.
of percussion practice, and how the appli-
cation of this practice can enhance both Marta Śniady was born in 1986 in Pabianice,
percussion technique and composition for Poland. She studied composition with prof.
percussion. One point is a highly physical Bronislaw Kazimierz Przybylski and graduat-
and visceral work, delivered through the ed at the Music Academy in Lodz in 2010.
mixed media of live musical and physical In 2016 she began Advanced Postgraduate
performance, pre-recorded video and tape Diploma studies in composition with Simon
part. The concerto will juxtapose the incred- Steen-Andersen and Niels Rønsholdt at The
ibly intimate and vulnerable in the minutia of Royal Academy of Music, Aarhus.
sound and gesture through to the explosive
and violent of the overtly theatrical gesture.
Rafal Ryterski
Laura Bowler is a composer, vocalist and
Genderf**k
Artistic Director living and working in Lon-
don and Manchester. Laura is also a Profes- (first performance)
sor of Composition at the Guildhall School
of Music and Drama where she teaches on for percussion, electronics and visuals
the MA in Opera Making course and a Lec- Soloist: Jonas Weitling
turer of Composition at the Royal Northern I am going to compose a piece inspired by
College of Music. the term genderfuck – a social phenomena
in New York during the 80’s which focused
on mixing gender qualities. The piece would
Marta Snyadi use just a small set of midi percussion pads
(like 2-4) and visualizations projected onto
In the pink (12’) (Scandinavian
the percussionists face – this idea came
Premiere) from lip-sync of drag queens. I think this
piece would fit in perfectly into the festival
for 1 female marimba player, 2 channel theme.
audio and video
Soloist: Maria Rullestad Teigen Rafal Ryterski is a composer, multimedia
In the pink is my attempt to draw public at- artist (installations, sound design, audiovis-
tention to the important problem of selling ual works), organizer of musical life. Born in
the image, which nowadays gains strength. 1992 in Gdynia. He graduated in Composi-
It makes women destroy their bodies in tion with the Multimedia Speciality at Univer-
the name of transcendent ideals and at all sity of Music of Fryderyk Chopin in Warsaw
costs try to stop their passing youth. Com- (2017). The synthesis of the various styles
position is a manifesto against the objective from he draws on is a hallmark of his works.
treatment of women, unfortunately not only Although he does not avoid acoustic music,
by men, but also by women themselves. he is a follower of the use of electronic and
They are the ones that can be seduced by digital media in his work, which gives him
the false images of beauty sold by colour- the opportunity to search for new identities
ful magazines, the Internet and television, for acoustic instruments.
in which year by year, one can find exactly
the same tips on how to be fit, be beautiful,
be perfect. In the pink was commissioned
by the duet Equilibri Duo (Julianna Kamila
Henrik Larsen – clinic: RDAM och Percurama
Ki-Aikido applied to Percussion Ensemble
percussion
14.00 SMI
11.30 SMI
Artistic Research: Ki-Aikido and The Royal Danish Academy of Music,
Copenhagen
Percussion

How to develop an artistic mindset in a com- Percurama Percussion Ensemble

petitive world? Based on my artistic research Lorenzo Colombo, Oliver Kragelund, Klaes
in applying principles from the Japanese Breiner Nielsen, Hsiao Tung Yuan, Marta
martial art Ki-aikido to percussion art and Soggetti, Tomasz Szczepaniak
education.
The last two years I have worked on an ar- Artistic leader: Gert Mortensen
tistic research project on the use of the
japanese martial art Ki-Aikido in my percus-
sion practise supported by the Danish Arts Iannis Xenakis
Counsil. This has led to improved practise Pléïades (Métaux - Claviers -
routines and new ways of presence in the
musical process. I will present the latest re-
Peaux - Mélanges) (1978)
sults of the project, as well as the results of
Following his success with Persephassa
the research project on marimba sound that
(1969), Xenakis was commissioned to write
is part of the process.
a second work for Les Percussions de Stras-
Danish percussion artist Henrik Knarborg
bourg, to premier at the Opéra du Rhin in
Larsen has performed as a soloist and as
May 1979. The Pleiades, also known as the
chambermusician all over Scandinavia, Eu-
Seven Sisters are an open star cluster in the
rope, USA and Asia, and he is percussionist
constellation of Taurus. It is among the near-
at Århus Sinfonietta, the oldest and most
est star clusters to Earth and is the cluster
prestigious contemporary music ensemble
most obvious to the naked eye in the night
in Denmark. In 2016 he played the opening
sky. Pléïades lasts about forty-five minutes.
concert at PASIC, presenting the Danish
Three of four movements utilize a single
composer SimonSteen-Andersen. He ex-
family of instruments: keyboards, drums,
plores the boundaries of art, poetry, thea-
and metallic instruments (these being spe-
tre and performance and at the same time
cially constructed instruments called sixx-
enjoys the abstract beauty of the classical
en, each having nineteen bars, or “pitches”,
music. The Danish Arts Counsil supports
not tuned to common equal temperament).
him 2017-2019 in a
The fourth movement combines all three,
large scale Artistic
and draws upon material from other move-
Research project in-
ments.
cluding research on
his Ki-Aikido methods
Iannis Xenakis was one of the leaders of
for teaching percus-
modernism in music, a hugely influential
sion. He also includes
composer, with compositional techniques
modern principles
that soon entered the basic vocabulary of
such as e-learning
the twentieth-century avant garde. Xenakis
and flipped class-
was born in Romania of Greek parents in
room in his teaching.
1922. His initial training was as a civil engi-
neer. In 1947, after three years spent fight-
ing in the Greek resistance against the Nazi
occupation, during which time he was very SISU Percussion, Norway
badly injured (losing the sight of an eye),
he escaped a death sentence and fled to 16.00 SMI
France, where he settled and subsequently
became an important element of cultural
life. SISU Percussion
Xenakis was first active as an architect, col- Tomas Nilsson, Björn Skansen,
laborating with Le Corbusier on a number Bjørn-Christian Svarstad
of projects, not least the Philips Pavilion,
designed by Xenakis, at the 1958 Brussels
World Fair. Rob Waring
Sikoté Sukán (25’)
It was in the 1950s, too, that Xenakis’ com-
positions began to be published. In 1952 he The title refers to words knitted together:
attended composition classes with Olivier sisu and kotekan. Kotekan is a balinesian
Messaien, who suggested that Xenakis ap- term for melodic ornaments where two
ply his scientific training to music. The re- voices are interlaced in to each other. In
sulting style, based on procedures derived Sikoté Sukán I have developed a form of
from mathematics, architectural principles kotekan with three voices. I have been in-
and game theory, catapulted Xenakis to the spired by the mood and expressions found
front ranks of the avant garde – although in balinesian gamelan music, but the similar-
there was never any suggestion that he was ities ends there.
a member of a clique or group: he was al-
ways his own man. Xenakis died in 2001.

Rob Waring
Smithereens II (8’)
The starting point for composing Smither-
eens II was the question of the faith for all
the fragments after an explosion. The music
follows the different aspects of their turbu-
lent journey while spreading out in a room
and eventually loosing speed and energy.
Smithereens was composed in 1992 as a
Percurama Percussion Ensemble solo piece for vibraphone and electronics.
A trio version was made for Sisu Percussion
in 2014.

Rob Waring studied classical percussion at

Juilliard School in New York with Saul Good-
man and Elden “Buster” Bailey as well as jazz
vibraphone with David Samuels. In 1981 he
moved to Oslo and has, since then, had a
central role as a percussionist, vibraphone
player, composer and teacher in the Norwe-
gian music scene.
Steve Reich
Djentophonic Ensemble
Drumming (1970-71)
Lauri Metsvahi - Recital
Reich began composing the piece after a 20:00 Musikaliska
visit to Ghana observing music and musical Tickets: 200 SEK, 100 SEK for Perc. Plus par-
ensembles there. ticipants
The piece is in the style of minimalism and is
structured around a single repeated rhythm. The music style metal with the progressive
Originally for 9 percussionists, two singers sub genre djent in a completely new way
and a flutist the piece is in 4 parts, with in- with percussion virtuoso Lauri Metsvahi.
struments including marimbas,bongos, Delicate vibratophone sounds, powerful
glockenspiel, voices and piccoloflute. bass drums and bold chords on the marim-
ba gives the genre a whole new form of cool
SISU have made an own trio-version of part sounds and pulsating rhythms.
1 for bongos. Arrangement by Lauri Metsvahi.

SISU Percussion has existed for 25 years Lauri Metsvahi, born 1988, began his mu-
and is regarded as one of the most im- sician education at Tallinn Music School
portand percussion groups in the Nordic where he graduated in 2008 with classical
countries. They present contemporary mu- percussion as main instrument. Since 2011,
sic, mainly written by norwegian composers. Lauri is studying at the Royal College of Mu-
The character of SISU is found in their nota- sic in Stockholm, where he graduated in or-
ble sound estethic, an attitude of sound re- chestral works in 2015 and is now studying
search and an expressive stage appereance. at advanced level in chamber music and
soloist. Since October 2016, Lauri works
as a percussionist in Blåsarsymfonikerna in
Stockholm. Lauri freelances often with the
Royal Philharmonic Orchestra, Gävle Sym-
phony Orchestra, Västerås Sinfonietta and
the Swedish Radio Symphony Orchestra.
Lauri has also worked in Estonia’s premier
percussion ensemble PaukenfEst and in the
contemporary music group YXUS Ensem-
ble.

Sisu Percussion Lauri Metsvahi

Saturday
Hans-Kristian Kjos Sabela Castro Rodríguez
Sörensen – clinic solo recital
From the heart, by heart - learning 10.30 KMH Kungasalen
and practising a new score.
Toshio Hosokawa
09.30 KMH, Nathan Milsteinsalen Sen VI (11’)
Hans-Kristian Kjos Sörensen started to
play music at the age of seven and grew up Toshi Ichiyanagi
playing percussion, piano and tuba. He stud- The Source (12’)
ied percussion at the Norwegian Academy
of Music. After a short period as principal
percussionist in Stavanger Symphony Or- Maki Ishii
chestra (1989) and later Bergen Philharmon-
ic Orchestra (1990–91), he went on to study
Thirteen drums (14’)
at the Banff Centre for fine Arts in Canada
and at the Conservatoire National de Ré- Sabela Castro Rodriguez recital is entirely
gion Versailles with Sylvio Gualda, where devoted to Japanese music with three piec-
he obtained the “Prix de Perfectionnement es of great importance for the percussion
à l’unanimité”. He is also a prizewinner from literature.
CIEM-competition in Geneva 1992.
Toshio Hosokawa (b.1955) has become
Kjos Sørensen is currently professor in per- an important composer both in Germany,
cussion at the Norwegian Academy of Music where he is resident, and in his native coun-
in Oslo. try Japan. Since 1998, Hosokawa has served
as Composer-in-Residence at the Tokyo
Hans-Kristian Kjos Symphony Orchestra. In 2004 he became
a guest professor at Tokyo College of Music
and in 2001 he was became a member of
Academy of Arts, Berlin.

Toshi Ichiyanagi (b.1933) is a Japanese

composer of avant-garde music with studies
for a.o. John Cage. Notable works from the
1960’s are Distance, in which he required the
performers to play from a distance of three
meters from their instruments and Anima7
which stated that chosen action should be
performed “as slowly as possible”. Ichiyanagi
was married to Yoko Ono from 1956 to 1963.
He is the recipient of the 33rd Suntory Music
Award in 2001 and has been honored with
Japan’s Order of Culture.
Maki Ishii was born in Tokyo in 1936. After
private studies in Japan he went to Berlin
and joined composition classes with Boris
Blacher and Josef Rufer. From 1962 he was
back in Japan composing for both Japanese
and Western instruments. His solo percus-
sion piece Thirteen Drums from 1985 has Tampere Conservatory/
become a sort of role model. Several pieces
after that has been written with the same in-
TAMK
strumental set up. Maki Ishii died in 2003, at
the age of 66. 13.00 KMH Kungasalen

Tampere Conservatory and Tampere
Sabela Castro Rodriguez was born in Lugo, University of Applied Sciences
where she started to study percussion and
piano at the age of eight. She continued
Tre Tonus:
her education at the Music Conservatory
of Valencia with professor Manel Ramada Maissi Uusitalo, Janne Savela, Eppu Hiet-
and Sergio Izquierdo. In 2009 she decided alahti, Patrik Kiviniemi, Rhys Gibbs-Harris,
to make a change of scenery and moved to Renato Toddeo, Akseli Ronimus, Jarmo Niini-
Stockholm where she began an Orchestra nen, Elias Nummenmaa, Sakari Viitala, Ilmari
Master’s program with Mika Takehara, Niklas Niemi, Joonas Mäyrä, Tuomas Marttila
Brommare, Joakim Anterot and Tomas Nils- Artistic leaders: Harri Lehtinen and Janne
son as teachers. She currently resides in Bar- Tuomi
celona studying an Artistic Master’s Degree
at ESMUC (Escola Superior de Música de
Catalunya), reconciling this music training Bob Becker:
with her professional career as a freelancer Mudra (16’)
in both Sweden and Spain.
soloist: Eppu Hietalahti

John Psathas
Kyoto (9’)

Minoru Miki
Marimba Spiritual (16’)

soloist: Janne Savela

Zez Confrey
Zez Confrey-suite (9’)
soloist: Patrik Kiviniemi
The Tampere percussionist, TreTonus will
present a classical program in this concert.
Legendary master xylophonist Bob Becker
(b.1947) has composed the indian influenced
piece Mudra in 1990 for prepared drum and
percussion ensemble.
John Psathas (b.1966), a New Zealand com- Se-Mi Hwang – solo recital
poser, wrote the percussion quintet Kyoto 16.00 Kungasalen
for the Taipei percussion festival in 2011.

The Japanese composer Minoru Miki (1933- Iannis Xenakis
2011) composed Marimba Spiritual in 1983
in response to the starvation catastrophe in Rebonds a
Africa during the early 1980`s. Last piece of
the concert will be a virtuoso piece for xy-
lophone solo made by Zes Confrey (1895- Johann Sebastian Bach
1971). Sammy Hermann arranged three of D Major Prelude & D minor
Confrey’s pieces for piano, a suite that Timo- Prelude
thy Ferchen later on adapted for xylophone
solo and percussion ensemble. from ‘The Well-Tempered Clavier’

Surprise

Marta Ptaszynska
Blue Line

Surprise

Kyung-Taek Kim / arr. Se-Mi Hwang

Tre Tonus Arirang

Ensemble after studies - Compagnie Kahlua

clinic Ceci n’est pas une Balle

14.30 KMH, Nathan Milsteinsalen Iannis Xenakis

Rebonds b
Tomas Nilsson, Bjørn-Christian Svarstad,
Anders Holdar, Moderator Joakim Anterot
The recital with Se-Mi Hwang concists of a
wide range of music. From J S Bach preludes
to Xenakis avant-garde, a theatre perfor-
mance, Polish and Korean music.

Se-Mi Hwang is an award winning percus-

sion performer, conductor, and educator.
She lives in Stuttgart, Germany, and is cur-
rently working as conductor for Strohgaeu
Symphony Orchestra and as lecturer at the
Tomas Nilsson University of Music in Mannheim.
Se-Mi Hwang was awarded First Prize and Vambola Krigul – clinic
the Audience Award at the 6th World Ma- 17.30 KMH
rimba Competition in 2012. In the same year
she and her trio won 3rd Prize at the Interna-
tional Percussion Competition Luxembourg Working on Sound - mallet issue, touch
in the category of percussion ensemble. In and attitude, working with composers and
2013 she received First Prize in the Felix Men- more…
delssohn Bartholdy University Competition
Vambola Krigul started to play the drums in
in the category of percussion. Se-Mi Hwang
the early childhood, but his personal musi-
received her Bachelor Degree in Yonsei Uni-
cal history also includes studies of other in-
versity in Seoul in 2010 and commenced the
struments and work as a professional singer.
percussion program at the Stuttgart Univer-
After deciding to focus on percussion, he
sity of Music and Performing Arts with Pro-
has graduated from the Estonian Academy
fessor Marta Klimasara in the same year. She
of Music and Theatre. Already at school he
completed her Master degree in percussion
started to work as a freelancer and has been
and in Orchestral Conducting at Stuttgart
involved in more than 100 premieres of solo
University in 2015.
and chamber works by Estonian and inter-
national composers. He likes to be a part of
a collaborative process with a composer try-
ing to find sounds and solutions also from
unorthodox sources.

Vambola Krigul is one of the founding mem-

bers of ensemble U, the most renowned Es-
tonian contemporary music group, whose
repertoire ranges from contemporary music
classics like Boulez, Xenakis and Stockhaus-
en to free improvisation and experimental
scores.
Currently is working in the percussion section
of Estonian National Symphony Orchestra
and teaching at the Estonian Academy of
Music and
Theatre.
He was
the artistic
leader
of the
previous
Se-Mi Hwang Percus-
sion Plus
festival in
Tallinn/
Estonia in
2016.
 Rolf Wallin (b.1957)
Final Concert
Stonewave (12’)
20.00 KMH Kungasalen
Benjamin Hingebjerg, Hendrik Holm, Sam-
Syddansk Musikkonservatorium Odense, mi Bouabbas, Malte Vendelby, Irene Bianco,
Danmark. Danish National Academy of Laurids Madsen.
Music
The song cycle Síppal, dobbal, nádihegedüv-
Irene Bianco, Jonas Thygesen, Malte Vendel- el is one of the famous Hungarian composer
by, Daniel Rahbek Jones, Sammi Bouabbas, György Ligeti’s last completed works, com-
Hendrik Holm, Oskar Hjorth, Rasmus Clem- posed in 2000 and premiered in Metz by
ent, Laurids Madsen, Benjamin Hingebjerg Katalin Károlyi and the Amadinda percussion
ensemble, to whom it is dedicated.
Artistic leaders: Søren Monrad and Johan Bridger In the little soft piece Snow in Kalamazoo,
by the Dutch composer Koos Terpstra, one
can imagine small snowflakes falling lightly
György Ligeti (1923-2006) to the ground with a little whiff at the end.
Sippal, dobbal, nadihegedüvel
Arabesques for solo percussion by the Dan-
(14’) ish composer Per Nörgård is made like a
small meander- like windings with rhythmic
poems by Sándor Weöres
and melodic fluctuations that recall Arab or-
Mezzo soprano: Clara Stengaard namentation – hence the title.
Percussion: Irene Bianco, Jonas Thygesen,
Oskar Hjorth, Daniel Rahbek Jones. About Stonevawe the Norwegian compos-
er Rolf Wallin says: “…Well then, let it be a
ritual for the exorcism of some ‘evil spirits’
Koos Terpstra (b.1955) which now ride our part of the world un-
Snow in Kalamazoo (4’) der the name of Liberalism, making people
the servants of the Market Forces instead
Marimba: Johan Bridger of vice versa. Stonevawe is therefore an in-
cantation, as it seems that only divine forces
Percussion: Laurids Madsen, Malte Vendelby.
can save European culture from a political
system that proclaims the Jungle Law as the
Per Nørgård (b.1932) guiding principle in social and cultural life”.

Three Arabesques (2011) (13’)

Percussion solo: Jonas Thygesen’

Danish National Academy of Music Odense

Felix Mendelssohn-Bartholdy
(1809-1847)
Fugue in F minor, allegro con
fuoco (14’)
from 6 Prelude and fugue op. 35.
Marimbas: Daniel Rahbek Jones and Oskar
Hjorth
 Sunday in collaboration with
Sunday Concert 1 TuP, Talentskolen på Musikhøgskolen,
10.00 KMH Kungasalen Oslo and PERCelleh
Halvor Brunt Sigurd Adrian Schøyen Leon-
SMI:s slagverksensemble, Stockholm ora Jacobsen, Bjørn-Christian Svarstad och
Kristoffer Almås
Simon Liljeblad, Jan Sjösten, Kasper
Thåström Teacher: Sigrun Rogstad Gomnäs
Teacher: Anders Holdar
Nils Rohwer
Steve Reich Marimba + 6 (4’)
Pieces for wood on drums (9’)
Lilla Akademien Stockholm
Sebastian Malmqvist, marimba
Antonio Carlos-Gomez,
arr. F. Hashimoto
Clair Omar Musser
Burrico de Pau (4’)
Etude in C (2’)
Mellanstadieensemblen, Lilla Akademien
Stockholm PERCelleh duo, Oslo
Leoni Ahlroth Ankarsparre, Isabel Bonér, Bjørn-Christian Svarstad, Kristoffer Almås
Leonard Hansson, Philip Jonströmmer
Teacher: Jesper Kviberg Petter Haukås
Monolog (7’) (composed for
The Carter family PERCelleh in 2013)
When I’m gone (Cup song) (3’)
Ivan Trevino
Catching Shadows (8’)

Mellanstadieensemblen Lilla Akademin PERCelleh duo

 Ivan Trevino
Hwang Se-Mi – clinic
2+1 (6’)
11.30 KMH Nathan Milsteinsalen

Just step forward to play on the keyboard Gene Koshinski

instruments! As one (5’)

Högstadieensemblen, Lilla Akademien

Sunday Concert 2 Stockholm
12.30 KMH Kungasalen Oscar Field, Alexander Grute, August Wan-
gen, Emil Kinman-Maly, Patrick Abrahams-
son.
Gymnasieensemblen, Vallentuna
kulturskola Teacher: Jesper Kviberg
Molly Heikkilä, Joseph Munro, Oscar Eriks-
son, Pelle Kronberg, Gustaf Karlsson,
trad, arr. Johan Renman (5’)
Teacher: Björn Persson
Värmlandsvisan
Högstadieensemblen, Vallentuna
kulturskola Irving Berlin/Louis Prima, arr. Johan
Markus Nordgren, Anica Lesovici, Albin Renman
Fransson, Marteijn Meins, Tim Meins Puttin’ on the Ritz/Sing, Sing,
Teacher: Björn Persson Sing (4’)

Hand clap skit (1’) F.E.M.P. + J Kulturskolan Sandviken

Ella Odlander, Mikolaj Kocemba, Patrik Ols-
son, Fabian Berencreutz, Jesper Andersson
Ed Sheeran, arr. Björn Persson
Teacher: Marcus Björn
Shape of you (3’)
Hans Zimmer
Sting, arr. Björn Persson
Pirates of the Caribbean (6’)
Straight to my heart (4’)
Ney Rosauro
Frevo No Frevo (5’)
Mark Ronson, arr. Christer Teglund
Uptown funk (3’)
Wintergatan
Starmaschine2000 (3’)
Musikhögskolan Ingesund / Karlstad
Universitet
Daniel Berg
Sofia Thålin, Lovisa Fhinn
Artistic leader: Rolf Landberg
Celebration (3’)
 Koji Kondo
Sunday Concert 3
Super Mario theme (3’)
15.00 KMH Kungasalen

Nacka Percussion Band, Nacka musik-

skola Gymnasiet, Lilla Akademien Stockholm
Simon Horovitz, Alexander Banning, Fre- Christoffer Breman, Lovisa Väyrynen, Klara
drik Hansson, Emil Leijon, Gustav Brandell, Väyrynen, Sven Friberg
Harald Lindfohf, Sanna Hansson, Isabelle
Teacher: Mikael Nilsson
Lundgren, Olof Adolfsson, Ludvig Nilsson,
David Malmros, Gabriel Lekander, Gabriel
Karacalidis, Aditya Singh, Alva Tjernell, Carl
Graff, Leon Sjöberg, Theodor Laséen, Stellan Owen Clayton-Condon
Israelsson Fractalia (6’)
Teacher: Martin Strand

Daniel Berg, arr. Per Björkqvist Musikkonservatoriet Falun

slagverksensemble
Cruisin’ (3’)
Irma Svensson, Linda Sjökvist, Daniel Alin,
Oliver Stålknapp, Samuel Pettersson
David Lennartsson Teacher: Magnus Einarsson
Marimbakonsert sats 1 (3’)
Michael Burrit
Ary Barosso, arr. Henrik Ståhlberg The Doomsday machine
Aquileras do Brazil (4’)
Tobias Broström
Bridgin the world
Mellangänget, Kulturskolan i Enköping
Alma Ågren, Teodor Buskenström, Rafael
Marmbrandt, Viggo Högberg-Algvik, Carl All participants on stage!
Olaison, Tilde Lindblad

Teacher: Stefan Palmfjord Jerker Johansson

SPiS-samba la vída
Electric Banana band, arr. Henrik
Ståhlberg
Banankontakt (3’)

Lennon/McCartney, arr. Stefan

Palmfjord
Obladi Oblada (3’)
F.E.M.P. Från Sandviken Musikkonservatoriet i Falun

Enköpings musikskola: Viggo Högdal Algvik, Sofia och Victoria, Ingesunds

Carl Olaisson, Tilde Lindblad, Alma Ågren, Musikhögskola. Foto: Viktoria Fyhr
Theodor Buskenström, Rafael Marmbrandt.
The venues and how to get
there
How to get around in Stockholm Musikaliska
We suggest that you get a 3 day pass (can A concert house for classical, modern, folk
be bought in a store), valid on all SL traffic. and world music.
A ticket valid for 72 hours (3 days) costs 250
How to get there:
SEK for adults and SEK 165 for students. A
ticket valid for 24 hours costs 125 SEK in full Adress: Nybrokajen 11
price and 85 SEK reduced price. Ticket ma- Metro (T): Östermalmstorg (red line)
chines are available at metro’s stations, the
Pressbyrån stores, and many other places
KMH Royal College of
- see sl.se
Music in Stockholm

SMI How to get there:

STOCKHOLMS MUSIKPEDAGOGISKA Adress: Valhallavägen 105
INSTITUT Metro (T): Stadion (red line)
University College of Music Education in
Stockholm
The Stockholm University College of
1E207
Music Education (in Swedish: Stockholms
Musikpedagogiska Institut, SMI) is an inde-
pendent “hochschule” (högskola) offering 1D221

undergraduate higher-education tuition in Erling-Perssonatriet

music and related arts education.

How to get there:
Adress: Alfred Nobels Allé 15
Commuter train (J) from Stockholm Oden-
plan or Stockholm City
Train no. 40 in direction Södertälje
Station: Flemmingsberg (19 min. from City)
On the station you walk in the direction
of the train. After the stairs you take left.
Follow the signs to Södertörns Högskola.
After the long stair up you go left following
he signs towards SMI.
Ticket machines are
available at metro’s
stations, the Pressby-
rån stores, and many
other places - see
sl.se.

Royal College
of Music
Stockholm