Composer • Producer

1940bI recently finished writing my Te Deum for Orchestra and Choir, commissioned by The Swedish Church and the parrish of Johanneberg. The work will be serve as the celebratory opening piece for an anniversary concert commemorating the erection of Johannebergskyrkan 75 years ago. The original eleven minute work will then give room for two compositions written in 1940 – a selection from the cantata that was written for the opening of the church (Cantata da Chiesa) by the composer who was also the church’s first organist, Hilding Hallnäs, and the well-known choral work God in Disguise by Lars-Erik Larsson.

It was a thrill to get the opportunity to write for orchestra and choir. The backbone of the Te Deum consists of three notes – D#, F# and G#, which are the pitches the three church bells in the tower are tuned in. The majority of the harmony in the piece is developed from these three notes. The piece also includes a quote from a Hilding Hallnäs composition (Benedictus) serving as an ‘echo of the past’. The concert takes place in Johannebergskyrkan on Sunday, October 18, with Jan K. Delemark conducting the choir and orchestra.


I am excited to announce that my composition ‘I Am Your Sunlight’ will be performed in concert with the Los Angeles Master Chorale Chamber Singers, conducted by Lesley Leighton, at Walt Disney Concert Hall, Los Angeles, on May 1, 2015. The performance is part of the High School Choir Festival and also features works by György Orbán, Philip White and Matthew Brown among other esteemed colleagues. To my knowledge this is my L.A. premiere as a composer which feels particularly exciting since I have had so many connections with this city due to my work in the film music business!

More information about the event here!

Basic RGBHow often does a composer of choral music get the opportunity to have a full concert of his or her own music? I am so grateful for this luxury offered by the Haga Motettkör and its director Ulrike Heider, who has always been a strong supporter of my composition activities. On February 1, 2015, the choir performed nine of my compositions under the title “The Haga Motets”, focusing on the sacred music I wrote for various services during 2014. I was also very happy to work with Karin Johansson, a brilliant piano improviser, who interpreted three of my pieces (O Sacrum Convivium, Kyrie and What Is God?) as interludes in the mid-section of the concert. The two last pieces of the concert were premiere performances of compositions dedicated to my two boys, Elmer (Lyckans minut – “Minute of Happiness”) and Hilding (Gud som haver barnen kär – “God who treasures children all”).

The beautiful poster for the concert was designed by Anders Nyberg.

Below is the full unedited recording of the concert.

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

The program:

  1. Day Unto Day (4:00)
  2. Ubi caritas et amor (8:40)
  3. Song of Faith (13:32)
  4. Ave Maria (17:38)
  5. Piano improvisation over O Sacrum Convivium (22:22)
  6. O Sacrum Convivium (29:07)
  7. Piano improvisation over Kyrie (34:37)
  8. Kyrie (based on Sonata nr 39 K 402 by Domenico Scarlatti) (40:35)
  9. Piano improvisation over What Is God? (43:14)
  10. What Is God? (51:14)
  11. Lyckans minut (57:09)
  12. Gud som haver barnen kär (61:40)

The Caritas Chamber Choir of Canterbury premiered my Ave Maria in concert at St Peter’s Anglican Church on December 20 under the direction of Benedict Preece. The choir also performed the piece in service at the magnificent Canterbury Cathedral on December 28. I was thrilled to get a video of the performance (below) and very happy with the interpretation!

My seven ‘O antiphons’ I composed for the Haga Motettkör was premiered in service in December conducted by Ulrike Heider. The seven rather short pieces – around 15 minutes all together – are entitled Antiphonae Intervallum since each and one of the pieces are based on one of the intervals in a major scale. I often find that formal restrictions is a real creativity trigger and the challenge forced me to write in new ways. Limited by the harmonic constraints but of course also paying attention to the text made this a very rewarding composition project. Below is a recording from the premire of the second movement, O Adonai.

If you are interested in downloading a PDF of the score, please go here!

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

Sometimes being a concert producer and a composer has very practical implications. On December 21, 2014, Johannebergs Vokalensemble will perform a concert devoted to various musical setting of three well-known Maria hymns – Ave Maria, Tota pulchra es and A Spotless Rose. The program was structured so that each text is represented by four settings by different composers, and four of the songs were to be performed by women’s and men’s choir separately, two each. I found wonderful settings that fitted the concept perfectly for all “slots” with one exception: I needed a TTBB setting of Tota pulchra es. Couldn’t find one. So I wrote one myself, taking the opportunity to write for men’s choir, which I have only done a couple of times before. The piece will be premiered by the men of the JOVE in the concert En ros utsprungen on December 21.