OCT 9
18.00 WORKSHOP
19.00 CONCERT
SOUND SPACES 2025 Kicks off with a workshop led by composer Rosali Grankull. The workshop and the following concerts are free to attend and will take place at STPLN Malmö. Drop-in, no booking required.
"In this workshop, at 6pm, we focus on activating our listening by becoming sound-makers ourselves.
The workshop is open to participants of all musical backgrounds – from beginners to professionals.
No prior experience is required.
During the concert, at 7pm, we are all participants, shifting between being active sound-makers and attentive listeners in a space of curious resonance. The public concert/improvisation is led and guided by the composer Rosali Grankull."
------------------
Music for Strings & Silk (2022)
Music for Strings & Silk is an interactive sound installation that explores the relationship between sound, space and people.
Using silk threads and stringed instruments as resonating bodies, a large-scale spatial instrument is created, where participants—regardless of experience—become both musicians and co-creators. The installation is activated and shaped through the participants interactions, serving as a musical situation for dialogue, collaboration, and shared sonic experience.
Rosali Grankull is a composer and sound artist working within contemporary music, both nationally and internationally.
Rosali searches for unknown musical events by placing herself in new situations as a composer and sound artist.
Playfulness, seriousness, and risk-taking go hand in hand in her practice, and she strives to create musical situations where people can come together.
OCT 9
KL. 20.00 CONCERT
Jonatan Sersam - "Fanfar" (2020; new version for two clarinets) (at 19.00, festival opening)
Anna Clyne - "Rapture" (2012) for clarinet and tape
Henrik Denerin - "Tesbih 17 – Your head breathes heavily, slowly, Fatumeh." (2024) For bass clarinet / Swedish Premiere
Alessandro Perini - "Flyback" (2025) - for two interconnected clarinets* (World Premiere)
*) With the support of Inter Arts Center
Natalie Eriksson has her roots in Norrtälje, north of Stockholm. She took her masters degree at the DePaul School of Music in Chicago, USA, and also studieed at the Malmö Academy of Music. In her everyday life shew works as a clarinet teacher at Kulturskolan in Trelleborg, but she also freelances around the Öresund region. Throughout her career, Natalie has specialised in contemporary art music and has performed works by Verrando, Kintsugi, Perini, and more.
Robert Ek has, as a clarinettist, specialised in contemporary music as a chamber musician and soloist. With great curiosity and dedication, he works together with composers to develop the repertoire for his instrument. He has recorded around 20 records and premiered a large number of works as a soloist and chamber musician. Since 2007 he is a member of the acclaimed ensemble Norrbotten NEO, the country’s only ensemble with a national mission to work with contemporary music. Norrbotten NEO premieres a number of works by Swedish and international composers every year. In 2012, the ensemble received fst’s interpretation award for their work with contemporary music. Robert has performed and collaborated with musicians, composers and conductors from different parts of the world. He likes to work in the border country between arts and has worked closely not only with composers but also with writers, choreographers and filmmakers. Robert has toured Europe, North America, Asia and Australia and played at festivals such as Warsaw autumn, Huddersfield Contemporary Music Festival, June in Buffalo, Faithful (Berlin), ISCM world music days in Stockholm and Tallinn, Musica Viva (Lisbon), Beijing Contemporary Music Festival.
In recent years, his work on developing the repertoire has focused on live electronics and developing the clarinet as an augmented instrument. Robert is also a PhD candidate at LTU since 2019. At the core of this doctoral project lies the iterative process where new electro-acoustic instrumental systems are designed and then used and tested in collaborative processes and in artistic practice. This oscillation is well described by Per Anders Nilsson (2011) as “design time” and “play time”. Where “design time deals with conception, representation, and articulation of ideas and knowledge outside time … and play time deals with embodied knowledge, bodily activity, and interaction in real time” (Nilsson, 2011). Adding to this framework is the reflective process of observing and analysing how the systems behave and interact with the performer. Performing with these systems requires a close relationship and intimate understanding of the system and the relationship between body and technology. This embodied knowledge that artistic research strives for is a felt knowledge.
___________
OCT 10
KL. 17.00 CONCERT
PERCUSSION DUO WITH ELECTRONICS
PROGRAM
Jeppe Ernst - Behandling A (2020, 10’)
Grisey Gérard - Stèle (1996, 7')
Steve Reich - Piano Phase (1980, 12’)
Mads Emil Dreyer - Lys 4 (2017, 10’)
Jacob Sachs-Mishalanie – Counterpoint for Two Isolated Drumsets (2017, rev. 2025, 10’)
------------------
Lorenzo Colombo is a percussionist, performer, and sound artist based in Copenhagen, Denmark. Deeply engaged in the exploration and promotion of contemporary music, he is a founding member of ensembles NEKO3, monoC, SEIT Quartet, and Haknam, and collaborates regularly with prominent groups including SCENATET, Athelas Sinfonietta Copenhagen, Ekkozone, Sentieri Selvaggi, MDI Ensemble, and Divertimento Ensemble.
Lorenzo holds a Soloist Diploma from the Royal Danish Academy of Music (2023), where he currently teaches percussion and post-instrumental and multimedia performance. His educational contributions include guest masterclasses across the globe, with recent engagements at UC San Diego, Stanford University, Queens College New York, PAS China in Beijing, and the New Music and Arts Symposium in Bangkok.
He is the recipient of several prestigious honors, including the Léonie Sonning Talent Prize (2022) and Musikanmelderringens Kunstnerpriser (2022, with NEKO3). Together with NEKO3, he was selected for Statens Kunstfond’s Den Unge Kunstneriske Elite career program (2023–24). Earlier recognitions include the Premio Nazionale delle Arti (2011), Yamaha Foundation of Europe Award (2013), and a prize at the International Percussion Competition (2015).
Lorenzo’s festival appearances span internationally renowned stages such as ManiFeste (IRCAM), Warsaw Autumn, Darmstadt Summer Courses, Biennale Musica Venezia, Gaudeamus Muziekweek, Wien Modern, Klang Festival, MI.TO, Milano Musica, Romaeuropa, SPOR Festival, Classical:NEXT, and Kontakte – Biennale für Elektroakustische Musik und Klangkunst.
As a soloist, he has performed Per Nørgård’s concerto For a Change with the Royal Danish Academy Orchestra, and premiered Yes_for_No by Xavier Bonfill with NEKO3 and the DR Symfoniorkestret. From 2016 to 2018, he was selected by the Ulysses Network as one of Europe’s most promising young performers, leading to collaborations with the International Ensemble Modern Akademie and Ensemble Intercontemporain.
A passionate advocate for new music, Lorenzo has premiered numerous works and collaborated with composers such as Simon Steen-Andersen, Simon Løffler, Jeppe Just Christensen, and Alexander Schubert, alongside composition studios in both Milan and Copenhagen. He is also the founder of the independent record label Don’t Look Back and has released recordings on Total Silence Cologne, Stradivarius (Italy), and Naxos Denmark.
------------------------
Marta Soggetti [b. 1993] is an Italian musician and performer based in Copenhagen, Denmark. In 2021 she completed her post graduate studies in percussion instruments at the Royal Danish Academy of Music under the guidance of Prof. Gert Mortensen.
Marta focuses her artistic research on contemporary music, promoting new music from young composers and exploring and experimenting with new ways of doing music that include other artistic media and technologies.
She collaborates regularly with the danish ensembles Scenatet and Neko3, and has been working with other renowned groups such as Athelas Sinfonietta [DK], Lydenskab [DK], RECONVERT [CH] and the contemporary music ensemble Sentieri Selvaggi [IT].
Marta is a co-founder member of the percussion duo SistroDuo [DK], a group dedicated to new music and focused on promoting some of the existing and less known repertoire written for this formation but also on expanding it through new commissions to up-and-coming danish and international composers.
Next to SistroDuo, Marta has co-founded the piano/ percussion quartet SEIT quartet [DK] and the multidisciplinary ensemble MONOC [IT], whose purpose is that of combining different artistic expressions, redefining the concept of performance and auditory experience.
In 2018 Marta has been performing as soloist with the RDAM orchestra S. Gubaidulina’s concerto “Glorious percussion”.�
In 2022 she has been invited to give a lecture at the Queens College in New York on the meaning of being a percussionist today and how can we as performers and artists help the development of music nowadays.
Active also as orchestra player, Marta has been collaborating since 2014 with the DR Symphony
Orchestra, Det Kgl. Kapel, the Sønderjyllands Symfoniorkester, the Copenhagen Phil and the Accademia of Santa Cecilia symphony orchestra, working under the baton of some world famous conductors.
OCT 10
KL. 20.00 CONCERT
------------------
PROGRAM
Laurence Crane - Bobby J, for electric guitar
Giulia Lorusso - À fleur de peau, for electric guitar
Lisa Illean - Tiding, for electric guitar
Giulia Lorusso - Drift, for electric guitar and electronics
Ruben Mattia Santorsa - Drones, for electric guitar
Giulia Lorusso - Unspoken,for electric guitar
--------------
A concert for electric guitar is nothing but a constellation of sound worlds, so distant from one another that they almost become unrecognizable, yet all sharing the same source—malleable, unpredictable, curious.
I love opening my solo electric guitar concerts with Bobby J by Laurence Crane: a sequence of dyads and chords that, in the simplest way, explores the nakedness of the electric guitar—at least as much as such a thing is possible.
Lisa Illean’s piece focuses on a profound retuning of the instrument and creates a fragile, subtle sound magma. Again, it is about exposing the guitar in unexpected ways. Drones is a work born from my personal research about sounds.
I first met Giulia Lorusso at the Darmstadt Ferienkurse in 2014. A strong musical understanding immediately emerged, leading to a long-lasting collaboration. À fleur de peau (2018–19), the first piece Giulia wrote for electric guitar and dedicated to me, explores the gestural dimension and a non-idiomatic approach to writing for the instrument. It employs various objects—such as coins—to produce material or noise-like sounds.
Drift (2019) takes up some of the techniques and gestures of the previous piece, embedding them in a structure that creates an accumulation of loops: a mass of repeated sounds that are turned on and off.
Unspoken (2020) was commissioned by Distractfold Ensemble towards the end of the pandemic. It reflects Giulia’s research on piano resonance and on certain harmonic combinations that are more consonant and resonant.
All three of Giulia’s pieces were recorded and released by me on vinyl, under the digital label Dissonant Bear.
--------------
Ruben Mattia Santorsa (1992) is an Italian classical and electric guitarist. Contemporary music is currently at the heart of his work and artistic manifesto. He firmly believes that through it one can convey a message of openness and social, political, and cultural renewal—something profoundly needed in today’s society. He has performed as a soloist with the Metropolitana Orchestra, the Accademia alla Scala Orchestra, the Orchestra of the Conservatory of Bologna, and the Parisian ensemble 2e2m.
Beyond his solo career, he continues to pursue his research in contemporary music, performing regularly with ensembles and orchestras such as the Symphonieorchester des Bayerischen Rundfunks, Helsinki Philharmonic, SWR Stuttgart Orchestra, DSO Berlin, Radio-Symphonieorchester Wien, Tonhalle Zürich, Orchestre de la Suisse Romande, Orchestra Haydn di Bolzano e Trento, Norwegian Radio Orchestra, Karajan Academy, Lucerne Festival Academy Orchestra, Mosaik Ensemble, Ensemble Contrechamps, MDI Ensemble, NEC Ensemble, and Sonemus Ensemble. He has worked with conductors including Sir Simon Rattle, Enno Poppe, Matthias Pintscher, Peter Eötvös, and Marin Alsop, performing at venues such as KKL Lucerne, the Elbphilharmonie in Hamburg, the Philharmonie Berlin, and Victoria Hall in Geneva.
He has lectured on contemporary guitar in Paris (Conservatoire Supérieur de Musique et de Danse), Boston (New England Conservatory), Chicago (Northwestern University), Lisbon (Escola Superior de Música), and Seville (Conservatorio Superior de Música Manuel Castillo).
He loves reading Carver and Pavese, writing short stories, and listening to music while drinking coffee in Berlin cafés.
--------------
The concerts are made with support from KULTURRÅDET.
--------------
FREE ENTRY
---------------
AVAILABILITY:
Parking outside
Elevator in the building
Event takes place on the second floor