Nikita Korn

Nikita Korn, born in Russia, studies at the Moscow Central School of Music.

He started composing at the age of 13 and has already written several acclaimed pieces, among them a Clarinet Concerto, 24 Preludes & Fugues, a Sextet for flute, clarinet, oboe, basson and percussion players, and two String Quartets.

He is a member of the youth branch of the Moscow Union of Composers and has taken master classes from Yuri Kasparov, Giorgio Colombo Taccani, Dmitry Kurlandsky, and Elliott Sharp.

Hei-Ching Lam

HONG KONG MUSICIAN
Currently student at Royal Conservatoire of Scotland
Music Produced

“Creative Hong Kong”, 4th China (Shenzhen)
International Cutural Industries Fair; Shenzhen, China (Soundtrack) — 2008
I Do (TV ad) — 2008
Shengzheng Development Bank (TV ad) — 2008
Nikon D7000, Nikon Coolpix S9100 (TV ad) (TV ad) — 2009
Hong Kong Urban Best Practices Area Exhibition, Shanghai World Expo; Shanghai,
China (Soundtrack) — 2010
Bends: (Song arrange) Cannes Film Festival — 2013
Sky100 Hong Kong Observation Deck (Video promo) — 2013
Global Trade Square (Video promo) — 2013
“Yuen & Lau” Tung Wah Hospital Group (Video Promo) — 2014
Hong Kong Dance Association (Dance music) — 2014
MA II Laboratorium, Hong Kong Modern Academy (Contemporary music) — 2016
Hei-Ching Lam
Theatre/Concert
accompaniment
Prudence Lieu Concert, Hong Kong — 2009
Wine & Dine Festival, Hong Kong — 2009
Whole Theatre Cabaret, Hong Kong — 2010
“Past Past” Chivalry Creative Theatre, Hong Kong — 2010
“There’s A Kind Of Hush” Green Splash Concepts
Theatre, Hong Kong — 2010
“QinHia Heart To Heart” Fund Raising Concert, Hong
Kong — 2010
“Age Of Aquarius” Perry Chau Experimental Theatre, Hong Kong — 2011
“Rock In TaiChung”, Taiwan — 2011
“Vicky Fung Live” Concert, Hong Kong — 2011
“Celestial Songs”, Hong Kong — 2011
“Terence Yin EP Launch” Hong Kong — 2012
“Chopsticks” Perry Chau Experimental Theatre,
Hong Kong — 2012
“What’s Magazine Music Salon”, Hong Kong — 2013
“Terence Yin Music Showcase” Hong Kong — 2014
“Girl’s Prayer” Concert, Hong Kong — 2016
Other Pianist and jam host, Backstage Live Restaurant,
Hong Kong
Guest music producer

Hong Kong Design Institute
Designing Artist at Elephant Parade Hong Kong

Ana Kazimic

Ana Kazimic (born 1985, Slovenia, lives in Serbia) graduated from primary and secondary music school as the best student in her generation, after which she was received by His Royal Highness Aleksandar Karadjordjevic in White palace, Belgrade. She acquired her BA and MA degrees at the Academy of Arts, Novi Sad, composing ballet music as her final graduation project. She finished Doctoral academic studies of composition at the Faculty of Music of the University of Arts, Belgrade, with a dance fantasia as her final doctoral artistic project.

She was the laureate of the young composers’ competition held under the auspices of Triorca project initiated by Norfolk County Council’s Music Service in England in 2012. At the International Composition Competition commemorating the 1700th anniversary of the Edict of Milan, her piece was awarded as the best.

Ana has performed as a pianist, dancer, and choral singer (in Serbia, Spain, Portugal, France, Austria, Germany, Italy, and Hungary). During one season she was a composer, choreographer, and dancer at the National Theatre in Belgrade. From among her dance awards, she singles out the first place at the 2013 World Competition.

Alessio Domini

CURRICULUM

Alessio Domini, born in 1991, graduated in Composition achieving Master of Arts degree cum laude and honorable mention at Conservatorium J. Tomadini in Udine (2015), where he studied with m° Mario Pagotto and m° Renato Miani. He also graduated in Piano with honors (2011) in the same institute.
He received the honorable mention of the jury in the Italian National Prix of Arts, the third prize in the International Competition Maria Grazia Vivaldi and the honorable mention in the International Competition Mariani Pratella.
His compositions have been played in Italy, Austria, Belgium, Poland, Sweden, Turkey, Albania, for festivals such as Mittelfest, Klarafestival, Ankara International Music Festival, National Forum of Music (Poland), Festival de Wallonie, Såxa Kammermusik Festival and more. Some of his works has been broadcasted on Rai Radio 3, Sveriges Radio P2, Musiq’3, Dwòjka – Polskie Radio,

Michael James Graham

Michael James Graham was born in Pretoria, South Africa in 1992. Attending Pretoria Boys’ High School from 2006-2010, he took music as a subject under Dr Niel van der Watt, playing cello in the school’s symphony orchestra. During this time he received his Grade 6 in cello and Grade 8 in classical voice qualifications through the Associated Board of the Royal Schools of Music.

After a year at the University of Pretoria, James Graham transferred to the South African College of Music at the University of Cape Town, where he majored in composition and took classical voice as his instrument. In 2014 he graduated with his BMus in Composition (with distinction), and in July 2017, he graduated with his MMus in Composition and Dissertation (with distinction) under the supervision of Prof. Hendrik Hofmeyr and Dr Martin Watt. During the latter degree he completed a dissertation analysing the two cello concertos by the late Finnish composer Einojuhani Rautavaara. The research was sponsored by the National Research Foundation for 2015 and 2016.

During his time at the University of Cape Town, James Graham received the Peter Klatzow Prize for Composition (2013), and the Meyer Levinson Prize for Best Original Composition (2014) for his chamber opera scene The Death of Cleopatra. In 2016, he won the Composers’ National Collegium Cone of Composition competition for his chamber work Procession of the Diabolicals, and was invited to write another piece of chamber music for the following year’s competition to be played as an epilogue. In June 2017 he attended composition masterclasses with Prof. Jeanne Zaidel-Rudolph in Cape Town.

James Graham’s oeuvre comprises a concerto for clarinet, piano, viola, and orchestra, numerous solo instrumental works, and a number of chamber pieces for varying mixed ensembles. He is currently at work on a concerto for violin and orchestra, a piece for string orchestra, and a work for voice and chamber ensemble, written as part of the international Performing the Jewish Archive project, which will be premiered in September 2017. He is currently looking to further his studies in Finland.

Victoria Borisova-Ollas

Victoria Borisova-Ollas was born 1969 in Russia but has lived in Sweden for many years. She first achieved international recognition when her work Wings of the Wind won second prize in the Masterprize competition in 1998: the critics were ecstatic, describing her work as a piece of ”sparkling sonic poetry.” She uses an original and innovative vocabulary of sounds to create acoustic spaces of great beauty and intensity, capable of captivating both sophisticated ears and those of less experienced but curious.

Victoria began her musical studies at early age. After graduating first from the Central School of Music in Moscow and then from the famous Tchaikovsky Conservatoire, she continued her composition studies in Sweden at Malmö Music College and in England at the Royal College of Music in London.

Her music is widely performed all around the world by orchestras such as London Symphony Orchestra, BBC Philharmonic Orchestra, Munich Philharmonic Orchestra, Wiener Radio Symphony Orchestra, Pittsburgh Symphony Orchestra, NHK Symphony Orchestra (Tokyo), Stuttgart Radio Symphony Orchestra, Finnish Radio Symphony Orchestra, Duesseldorf Symphony Orchestra, Swedish Radio Symphony Orchestra, Bern Symphony Orchestra, Helsinki Philharmonic Orchestra, Gothenburg Symphony Orchestra, Swedish Royal Philharmonic Orchestra, Winnipeg Symphony Orchestra, The Raschèr Saxophone Quartet, Kammarensemblen and by other orchestras, ensembles and performers. Her works have been broadcasted by Swedish Television, BBC Radio 3, Swedish Radio P2 and by other broadcasting companies in Finland, Russia, USA, Slovenia, Germany, Canada etc. Some of the pieces have been released on CD`s ( EMI, Metronome Recordings in UK, Phono Suecia, Media Artes/Chamber Sound, Musica Rediviva in Sweden).

Her clarinet concerto Golden Dances of the Pharaohs was awarded two times, first from The Swedish Music Publishers Association’s Annual Music Publisher’s Award 2010 and next year, 2011 from The Royal Swedish Academy of Music/ Christ Johnson Prize. She also recieved The society of Swedish Composers Award/ Hilding Rosenbergs Prize 2009; The Swedish Music Publishers Association’s Annual Music Publisher’s Award 2008 for The Ground Beneath Her Feet, The Royal Academy of Music/ Minor Christ Johnson Prize for Symphony no.1 ”the Triumph of Heaven” 2005.

Since 2008 Victoria Borisova-Ollas is member of the The Royal Swedish Academy of Music.

Most of her works are published by Universal Edition, Vienna. Other publishers are Novello&Co (Music Sales Classical), Gehrmans Musikförlag, ABRSM Publishing, Svensk Musik/Swedish Music Information Center.

Sven-David Sandström

No composer has made such an impression on contemporary Swedish musical life as Sven-David Sandström. His catalogue of works, which includes some 300 compositions, gives proof not only of an impressive productivity, but also contains an amazingly wide range: everything from magnificent operas and oratorios to intimate choral and chamber music. With his unlikely combination of creativity and diligence in the craft of composition, restless curiosity and firmly-rooted mastery of form, Sandström alternates, to all appearances unconcerned, between a sophisticated orchestral texture and musical melodies, film music and music for the church. In the 2000s he has focused especially on sacred choral music.

Sven-David Sandström. Photo: Mats BäckerSven-David Sandström
Photo: Mats Bäcker

Sven-David Sandström had his breakthrough in 1972 with Through and through, an orchestral work that was met with international response when two years later it was performed by the Concertgebouw Orchestra in Amsterdam. Sandström quickly established himself as a leading modernist in the younger generation of Scandinavian composers, not seldom with scores of a terrifying degree of difficulty. Pierre Boulez chose, for example, to conduct his piece Utmost with the BBC Symphony Orchestra.

Around 1980 a decisive turning point occurred in Sven-David Sandström’s tone language. Without abandoning the high demands on his executants his musical form of address became simpler, more emotional. The epoch-making Requiem De ur alla minnen fallna, a mighty fresco over the infanticide of the Holocaust, stands out today as one of the most prominent works in 20th-century Swedish music. A number of choral works began to pour from Sandström’s pen, all of them eagerly sought after by Sweden’s many elite choirs. At the same time his interest in the stage was aroused and resulted in, among other works, six original ballet scores.

High Mass (1994), a monumental work for five female vocal soloists, large choir and orchestra, modeled on J.S. Bach’s Mass in B minor, was received with high acclaim. With the Mass text laid out in 25 movements, just like the model, the tone language is nonetheless Sandström’s own throughout. This powerful Mass was also performed ten years later in Bach’s city of Leipzig with the Gewandhaus Orchestra under the baton of Herbert Blomstedt, and a recording was issued on Deutsche Grammophon.

Already in the 1980s Sven-David Sandström had composed a couple motets for choir after baroque models: a kind of homage to Henry Purcell and Dietrich Buxtehude. After High Mass he started to feel an affinity with the old masters, especially Bach. Sandström has expressed the wish to link himself to the tradition. He has therefore given us Ordet (The Word) (2004), a large-scale ”passion” with the evangelist part tailored for Anne Sofie von Otter. For the librettist he chose the poet Katarina Frostensson, with whom he had collaborated already in the successful opera Staden (The Town) (1996). Further, he composed a Christmas Oratorio (2004), the cantata Wachet auf (2008) and, commissioned by Helmuth Rilling’s Internationale Bachakademie Stuttgart, a Magnificat (2005) with an orchestral texture for baroque period instruments. Rilling and the Oregon Bach Festival are also behind the commission of the colossal Messiah (2009), set to the exact same text as Handel’s well-known version.

The series of six motets after Bach’s originals occupies a special position. The initiative was taken by choir professor Stefan Parkman and resulted in Lobet den Herrn. This inspired Ingemar Månsson, who was once the conductor of the Hägersten Motet Choir where Sandström had sung with the tenors for many years, to place an order for Singet dem Herrn, a work for double choir. In 2008 Sandström was able to conclude this unique collection of motets, each one dedicated to a capable Swedish choir leader.

Also in his occupational role Sven-David Sandström has been inspired by the great cantor of St. Thomas. In 2008, when his ten-year professorship in composition at the prestigious Bloomington University in Indiana came to an end, he was able to realize a long-cherished dream: to compose, like Bach, for all the feast days of the ecclesiastical year. He has gladly taken upon himself to deliver music on a regular basis: one work every other week. The compositional process evolves in close cooperation with the musical ensembles at Stockholm Cathedral and Gustaf Sjökvist. But also with choir leader Mona Ehntorp in the Stockholm suburb of Hässelby’s congregation, and its more modest resources.

This is a gift, as unique as it is generous, to the Swedish Church and its active musical life. Sven-David Sandström’s complete church-year cycle is scheduled to be finished by the spring of 2011, and with 65 works to cover all the Sundays. The major part of these works is music of varying complexity for a cappella choir, but there are also cantatas for soloist and organ, as well as purely instrumental works.

Sven-David Sandström

No composer has made such an impression on contemporary Swedish musical life as Sven-David Sandström. His catalogue of works, which includes some 300 compositions, gives proof not only of an impressive productivity, but also contains an amazingly wide range: everything from magnificent operas and oratorios to intimate choral and chamber music. With his unlikely combination of creativity and diligence in the craft of composition, restless curiosity and firmly-rooted mastery of form, Sandström alternates, to all appearances unconcerned, between a sophisticated orchestral texture and musical melodies, film music and music for the church. In the 2000s he has focused especially on sacred choral music

Sven-David Sandström had his breakthrough in 1972 with Through and through, an orchestral work that was met with international response when two years later it was performed by the Concertgebouw Orchestra in Amsterdam. Sandström quickly established himself as a leading modernist in the younger generation of Scandinavian composers, not seldom with scores of a terrifying degree of difficulty. Pierre Boulez chose, for example, to conduct his piece Utmost with the BBC Symphony Orchestra.

Around 1980 a decisive turning point occurred in Sven-David Sandström’s tone language. Without abandoning the high demands on his executants his musical form of address became simpler, more emotional. The epoch-making Requiem De ur alla minnen fallna, a mighty fresco over the infanticide of the Holocaust, stands out today as one of the most prominent works in 20th-century Swedish music. A number of choral works began to pour from Sandström’s pen, all of them eagerly sought after by Sweden’s many elite choirs. At the same time his interest in the stage was aroused and resulted in, among other works, six original ballet scores.

High Mass (1994), a monumental work for five female vocal soloists, large choir and orchestra, modeled on J.S. Bach’s Mass in B minor, was received with high acclaim. With the Mass text laid out in 25 movements, just like the model, the tone language is nonetheless Sandström’s own throughout. This powerful Mass was also performed ten years later in Bach’s city of Leipzig with the Gewandhaus Orchestra under the baton of Herbert Blomstedt, and a recording was issued on Deutsche Grammophon.

Already in the 1980s Sven-David Sandström had composed a couple motets for choir after baroque models: a kind of homage to Henry Purcell and Dietrich Buxtehude. After High Mass he started to feel an affinity with the old masters, especially Bach. Sandström has expressed the wish to link himself to the tradition. He has therefore given us Ordet (The Word) (2004), a large-scale ”passion” with the evangelist part tailored for Anne Sofie von Otter. For the librettist he chose the poet Katarina Frostensson, with whom he had collaborated already in the successful opera Staden (The Town) (1996). Further, he composed a Christmas Oratorio (2004), the cantata Wachet auf (2008) and, commissioned by Helmuth Rilling’s Internationale Bachakademie Stuttgart, a Magnificat (2005) with an orchestral texture for baroque period instruments. Rilling and the Oregon Bach Festival are also behind the commission of the colossal Messiah (2009), set to the exact same text as Handel’s well-known version.

The series of six motets after Bach’s originals occupies a special position. The initiative was taken by choir professor Stefan Parkman and resulted in Lobet den Herrn. This inspired Ingemar Månsson, who was once the conductor of the Hägersten Motet Choir where Sandström had sung with the tenors for many years, to place an order for Singet dem Herrn, a work for double choir. In 2008 Sandström was able to conclude this unique collection of motets, each one dedicated to a capable Swedish choir leader.

Also in his occupational role Sven-David Sandström has been inspired by the great cantor of St. Thomas. In 2008, when his ten-year professorship in composition at the prestigious Bloomington University in Indiana came to an end, he was able to realize a long-cherished dream: to compose, like Bach, for all the feast days of the ecclesiastical year. He has gladly taken upon himself to deliver music on a regular basis: one work every other week. The compositional process evolves in close cooperation with the musical ensembles at Stockholm Cathedral and Gustaf Sjökvist. But also with choir leader Mona Ehntorp in the Stockholm suburb of Hässelby’s congregation, and its more modest resources.

This is a gift, as unique as it is generous, to the Swedish Church and its active musical life. Sven-David Sandström’s complete church-year cycle is scheduled to be finished by the spring of 2011, and with 65 works to cover all the Sundays. The major part of these works is music of varying complexity for a cappella choir, but there are also cantatas for soloist and organ, as well as purely instrumental works.

Camilla Lundberg

Krzysztof Penderecki

Krzysztof Penderecki

Multi-award winning Polish composer and conductor Krzysztof Penderecki is one of the world’s leading and most distinguished musicians of his generation.

 

Works like the Threnody to the Victims of Hiroshima (1960), St. Luke Passion (1966), Cello Concerto No.2 (1983) written for Mstislav Rostropovich, Polish Requiem (1984), Symphony No.3 (1995), Violin Concerto No.2 written for Anne-Sophie Mutter (1995), Symphony No.7 The Seven Gates of Jerusalem (1997) and the Double Concerto (2012) written for Janine Jansen and Julian Rachlin, to name a few, are now considered masterworks of our time.

 

Aside from composition, Krzysztof Penderecki has developed an outstanding career as a conductor over the years. He was guest conductor of both the NDR Hamburg and MDR Leipzig sinfonieorchesters, Artistic Director of the Casals Festival in San Juan, Puerto Rico (1992-2002), and Artistic Advisor to the Beijing Music Festival. Since 2003 he has held the position of Artistic Director of the Sinfonia Varsovia with whom he has developed a wide range of projects. He also regularly works with the Polish National Radio Symphony Orchestra and Sinfonia Iuventus – both of which he has recorded several albums with – Beethoven Academy Orchestra, Sinfonietta Cracovia, and Warsaw Philharmonic Orchestra. In 2014 Anna Schmidt filmed a long documentary film on Penderecki music and life ‘Paths through the Labyrinth’.

 

Upcoming and recent highlights includes performances with the Prague Radio Symphony Orchestra (closing concert of the Prague Spring Festival), Orquesta Nacional de España, Staatskapelle Weimar, Dresdner Philharmonie, Orquesta Sinfonica del Estado de Sao Paulo and a return to the Festival Casals.

 

Over the years Penderecki has garnered numerous awards both as composer and conductor, including Grand Art Prize from the federal state of North-Rhine Westphalia (1966), Prix Italia (1967), Sibelius Gold Medal (1967), Polish Composers’ Association Prize (1970), Prix Arthur Honegger (1977), Sibelius Prize of the Wihuri Foundation and National Prize of Poland (both in 1983), Premio Lorenzo il Magnifico (1985), three Grammy Awards (1987, 1998 and 2001), University of Louisville Grawemeyer Award for Music Composition (1992), Prize of the International Music Council/UNESCO (1993), Music Prize of the City of Duisburg (1999), Cannes Award as ”Living Composer of the Year” (2000), Premio Príncipe de Asturias (2001), Romano Guardini Prize of the Catholic Academy in Bavaria (2002) and the Praemium Imperiale (2004).

 

Since 1990 Penderecki has held the Grand Cross for Distinguished Services of the Order of Merit in Germany and Chevalier de Saint Georges. In 1995, he became a member of the Royal Academy of Music in Dublin and in 1998 a member of the American Academy of Arts and Letters and the Bavarian Academy of Fine Arts in Munich. He was made Commander of the Three Star Order in Riga, Latvia in 2006 and is a member of the Order of the White Eagle in Poland. Krzysztof Penderecki is honorary doctor and honorary professor of numerous international universities.

Henrik Strindberg

Som tonsättare har Henrik arbetat med några av Sveriges finaste solister, ensembler och orkestrar. Han har komponerat för de internationella ensemblerna New Juilliard Ensemble, Het Nieuw Ensemble och Cikada. Henriks musik har spelats på de viktiga nordiska festivalerna och några gånger på andra internationella festivaler. Tre av Sveriges största dagstidningar utsåg Henriks cd “Within Trees” till “Årets skiva” 2004.