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 14:3015:15 KMH, Nathan Milstein- Registration teachers salen 18.00 KMH, Entrance Hall 1E102 Sisu/PERCelle - clinic Welcome Meeting, we look at the 16:0017:00 KMH, Kungasalen new house. Time for dinner and Se-Mi Hwang – solo recital getting together 17:3018:15 KMH, Nathan Milstein- Friday salen SMI day Vambola Krigul - clinic 10:00 - 11:00 SMI 18:1520:00 KMH, Erling-Pers- sonatriet Det Jyske Musikkonservatorium Dinner Thursday 11:30 - 12.15 SMI Teachers day 20:00 - 21:30 KMH, Kungasalen Henrik Larsen – clinic 9.30 KMH, Entrance Hall Final Concert Gathering 14:00 - 15.00 SMI RDAM och Percurama Percussion 10.00 KMH, Room 1D221 Ensemble Presentation 16:00 - 17:00 SMI 10.30 KMH, Room 1D221 SISU Percussion Gender – A no problem? 20:00 - 21:00 Musikaliska Sunday 12.30 KMH Djentophonic Ensemble (entré Concert day in collaboration with Time for lunch 100 SEK for festival participants) SPiS 14.00 KMH, Room 1E207 (Percussion Teachers in Sweden) Regrowth & the Future of the Festival. Sigrun Rogstad Gomnäs 10:00 - 11:00 KMH, Kungasalen & Fredrik Engdahl Sunday Concert 1 16.00 KMH, Entrance Hall 11:30 - 12:15 KMH, Nathan 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 19:00 Kungasalen Krogh, Kristo©er Almås Artistic leaders: Tomas Nilsson and Rob Music Schools in Stockholm: Väsby- Waring Saturday taiokon KMH invites for lunch and dinner Teachers: Maria Olsson, Jesper Lagström, Mark Cement Pollard 09:30 - 10:15 KMH, Nathan Milstein- Jacob Johannesson, Jon Skäre salen The Heavenly Muzak Machine, Hans-Kristian Kjos Sörensen – clinic mov. 2 10:30 - 11:30 KMH, Kungasalen Speech by Sabela Castro Rodríguez - solo recital Cecilia Rydinger Alin 11:30 - 13:00 KMH, Erling-Pers- Vice-Chancellor of KMH The Royal Danish Academy of Music, sonatriet Copenhagen Lunch 13:00 - 14:00 KMH, Kungasalen Speech by Anders Kann Elten, marimba Tampere Conservatory/TAMK concert Anna Maria Koziomtzis 14:3015:15 KMH, Nathan Milstein- Head of Department for classical music Domenico Scarlatti salen Sisu/PERCelle - clinic Sonata K1, K98, K198 16:0017:00 KMH, Kungasalen Royal College of Music in Stockholm Se-Mi Hwang – solo recital Andreas Nyström, Simon Tykesson, Simon 17:3018:15 KMH, Nathan Milstein- Landqvist, Henrik Wassenius, Rikard Johann Sebastian Bach salen Markstedt, Pau Villa, Eric Lennartsson, Alek- Prelude & Fugue sander Raknes Ulriksen Vambola Krigul - clinic in C minor from 18:1520:00 KMH, Erling-Pers- sonatriet Artistic leaders: Daniel Berg and Joakim ‘The Well-Tempered Dinner Anterot Clavier’ 20:00 - 21:30 KMH, Kungasalen Anders Kann Elten Final Concert Torbjörn Ivan Lundqvist Nicola Paganini, arr. J.Bridger: SISU (12’) Caprice no. 24

Estonian Academy of Music and Theatre Ivo Lain, Kaspar Ernesaks, Norwegian Academy of Music Karl-Johan Kullerkupp

Artistic leader: Vambola Krigul Minoru Kobashi AHun, mov.2 (8’) Helena Tulve Ma kuulsin sind Intermission laulmas (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 ªilm 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 reªlects 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 ªlow, 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 Meditation á deaux (5’) and the constant change of seasons.

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 inªluenced 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 AHun, for ªive timpanists, Minoru Kobashi (b. 1928) speciªies precise choreography of gesture and arm movement and many vocal e©ects are incorporated. The piece was composed in 1975.

Composer and pianist Johanna Beyer studied with Henry Cowell, Charles Seeger, Ruth Crawford Seeger and Dane Rudhyar. Beyer composed eight percussion ensembles between 1931 and 1943 and many of her works reªlect their ultra-modernist aesthetic. Per- cussion from 1935 consists of 5 short movements. Beyer was one of the ªirst composers to use non-speciªied instrumentation, so the work has the possibility to use an in- ªinite combination of color. The pieces are by modern standards extremely simple in terms of technique, but use, possibly for the ªirst 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 10.00 SMI space of instrumental and multi-media music in constellations from solo-performers to Royal Academy of Music Aarhus/Aalborg, larger ensembles. The last years’ production Denmark includes explorations in ªields 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 Co¦ee Time (4’) Premiere)

Coee 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, co©ee machine and a table, British composer, Laura Bowler. This new preferably ampliªied. 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 ampliªication. The atory of Brussels and at Gothenburg Music work will seamlessly incorporate the physi- Conservatory. He also studied ªilm music at cal movement from Henrik’s Aikido practice Gothenburg University and script writing at into the musical language for the work. His Gothenburg ªilm University. Many of his art set up is purposely written to magnify these ªilms 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, Unidentiªied Flashing Oscillations). gongs; these opposing instruments are then used as a way to choreograph the move- Loïc Destremeau ment of Aikido into the musical material that moves from one side to the other. Typed-Tex-Tile (10’) The overall work explores the state of “the (§irst 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 application 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- (§irst 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 In the pink (12’) (Scandinavian (like 2´4) and visualizations projected onto the percussionists face – this idea came Premiere) from lip-sync of drag queens. I think this piece would ªit 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 ªind exactly the same tips on how to be ªit, 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, Percussion Copenhagen

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 percussion 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-ªive 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 inªluential 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 ªlipped 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 ªight- 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 ªled to 16.00 SMI France, where he settled and subsequently became an important element of cultural life. SISU Percussion Xenakis was ªirst 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 scientiªic 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 di©erent 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 (197071) 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 ªlutist the piece is in 4 parts, with in- with percussion virtuoso Lauri Metsvahi. struments including marimbas,bongos, Delicate vibratophone sounds, powerful glockenspiel, voices and piccoloªlute. bass drums and bold chords on the marimba 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 (1990½91), he went on to study Thirteen drums (14’) at the Ban© Centre for ªine 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 percussion piece Thirteen Drums from 1985 has Tampere Conservatory/ become a sort of role model. Several pieces TAMK after that has been written with the same instrumental 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 inªluenced 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 xylophone 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 performance, Polish and Korean music.

Se-Mi Hwang is an award winning percussion performer, conductor, and educator. She lives in Stuttgart, Germany, and is currently 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 ªind 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 snowªlakes falling lightly György Ligeti (1923´2006) to the ground with a little whi© 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 ªluctuations 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 composer 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 Kristo©er 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, Kristo©er 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 Soªia 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 musikskola Gymnasiet, Lilla Akademien Stockholm Simon Horovitz, Alexander Banning, Fre- Christo©er 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 Gra©, Leon Sjöberg, Theodor Laséen, Stellan Owen Clayton-Condon Israelsson Fractalia (6’)

Teacher: Martin Strand

Daniel Berg, arr. Per Björkqvist Musikkonservatoriet Falun Cruisin’ (3’) slagverksensemble 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 Palmªjord Jerker Johansson SPiS-samba la vída Electric Banana band, arr. Henrik Ståhlberg Banankontakt (3’)

Lennon/McCartney, arr. Stefan Palmªjord Obladi Oblada (3’) F.E.M.P. Från Sandviken Musikkonservatoriet i Falun

Enköpings musikskola: Viggo Högdal Algvik, Soªia och Lovisa, 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 traÃic. 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 Music Education (in Swedish: Stockholms 1E207 Musikpedagogiska Institut, SMI) is an inde- pendent “hochschule” (högskola) o©ering 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