Inga Margrete Aas is an Oslo-based musician, improviser and composer. As a musician/improviser you could find her playing circle bow on double bass in the improvduo Vilde&Inga, delicate noise sounds on viola da gamba in the free folk band O, or engaged in a counterpoint with the classical chamber orchestra Ensemble Allegria. These activities have been documented on a variety of recordings, to mention a few: Vilde&Inga – How Forests Think (SOFA 2020), O – Firstness (2022 dBUT inter@mbience), Ensemble Allegria – Britten/Hagen/Strauss (LAWO 2022). As a composer you could find Aas trying to notate bow scraping for cello, tying fishing line to a bass drum pedal or preparing an overhead projector. In 2022 the piece Self Portrait With Lynx and Moth was in the final of the pan-European composition competition DYCE. Aas is currently working on pieces for the ensembles Aksiom trio and Rugle.


She graduated from the Grazyna and Kiejstut Bacewicz Academy of Music in Lodz, Poland with a Master’s degree in Theory of Music and Bachelor’s degree in Composition in the class of prof. Zygmunt Krauze. In 2012, she studied at the Royal Conservatory of Brussels, Belgium as a participant of the Erasmus Exchange Program with prof. Peter Swinnen, where she continued her education in the Master’s program and graduated with distinction in 2016. In the field of electronic music she has been guided by Krzysztof Knittel, Kasia Głowicka, and Benjamin Van Esser. She is currently pursuing a doctorate in Music Composition at the Columbia University in New York City.

Her works inhabit a number of contemporary and experimental settings such as video scores and performance pieces with multimedia and live electronics, as well as orchestra and ensemble works. By maintaining collaborations with musicians, dancers and film artists, Nina continues to explore new possibilities for multi-disciplinary art.


Paweł Hendrich was born in 1979 in Wrocław (Poland). After studying engineering and economics at the Wrocław University of Economics he studied composition at the K. Lipiński Academy of Music in Wrocław (prof. Grażyna Pstrokońska Nawratil) and at the Hochschule für Musik in Cologne (prof. York Höller).

The works of Paweł Hendrich have been performed at concerts and festivals in Austria, China, Czech Republic, Denmark, Estonia, Germany, Hungary, Latvia, Lithuania, Malta, Poland, Russia, Slovakia, Spain, Sweden, Switzerland, Turkey and United States of America.


Tze Yeung Ho (b. 1992) is a Norwegian composer. His music is created at the crossroads of understanding, reflecting his multilingual upbringing. His works explore the territories of speech, translation in language, dramaturgy and poetics. Working with Scandinavian, Finno-Ugric and Chinese poetry and prose, his music treads on the fragile landscapes of (mis)communication through (un)spoken words. Close collaboration with living writers, storytellers and word-based artists is integral to his practice.


Hjalmarsson is known for his detailed and finely woven sound world, where the act of listening plays a vital role. Here, the perception of sound is ever  transforming, revealing an otherwise obfuscated narrative, unfolding in time.

Hjalmarsson’s music has been performed by performers, orchestras and ensembles worldwide on various occasion by groups such as Basel Sinfonietta, BBC Scottish Symphony Orchestra, Vertixe Sonora, Icelandic Symphony Orchestra, Barokkbandið Brák, Hanna Hohti, Ensemble Adapter and CAPUT ensemble to name a few.


Composer, songwriter, manager and italianist. In her works she focuses mainly on color – on the way timbres are being mixed and on nuances that form a multidimensional but coherent image. Composer fervently reach for a non-obvious combinations such as junction of harp and piano in Shadow lines or a mix of soprano and baritone saxophones with electronics in Dream argument. Her interests are oriented on different music genres. She is a founder and a leader of FJORS (compositions, voice, keys, electronics).

Since 2019 she has been a manager of Hashtag Ensemble, music cooperative specialising in contemporary music. As an associate producer she worked for Quartessence Festival (Royal String Quartet), Słuchy — concerts to be toured, Kwadrofonik Festival, Dark Matter(s): Mykietyn & Peszat (2017). In 2015, with Teoniki Rozynek, Zaneta Rydzewska and Rafal Ryterski, she founded composers’ group gen~.rate. Between 2015 and 2019 they produced several concerts, inter alia: New Music Concerts series and polysensory spectacle EMBODY.


Martyna Kosecka’s music grows out of her interest in philosophy, physics, linguistics and the mythologies and fables of the world. She is a Polish composer, performer, conductor, curator and researcher in new music. In her projects she works with narratives, microtonality, symbolism and ritualism, by using multidisciplinary solutions. She emphasises the richness of transcultural relationships in art, drawing from the cultures of Iran, Poland and Norway, the countries she has connected through her life. Martyna currently lives and works in Oslo, where she is involved in the curatorial activities of VoxLAB, the Periferien contemporary music concert series and the Norwegian Society of Composers. 


Klaus Lang  – organist and pianist. He studied composition and theory of music and organ. Klaus Lang loves tea and dislikes lawnmowers and Richard Wagner. Klaus Langs music is not a means to convey extramusical contents, such as emotions, philosophical or religious ideas, political propaganda, advertisement etc… His music is no language used to communicate non-musical content. Music is seen as a free and selfstanding acoustical object. In his work he is not using sound, sound is explored and given the opportunity to unfold its inherent rich beauties. Only when sound is just sound it is percievable as that what it really is: a temporal phenomenon – audible time.


The music of Iranian composer/performer, Idin Samimi Mofakham (*1982) is deeply based on the traditional and regional music of his home country. Since 2015, he develops his own musical language based on the medieval Persian tuning systems, just intonation and psychoacoustics.

Idin is the co-founder and artistic manager of Spectro Centre for New Music since 2013, along with Polish composer & conductor Martyna Kosecka. Since 2015 he serves as a co-founder, board member and senior curator of Tehran Contemporary Music Festival, the only international music festival with focus on contemporary and experimental music in Iran.


Celeste Oram is a composer and musician, of British and settler American heritage, who grew up in Aotearoa New Zealand and now lives in New York City.

Celeste’s works are scenarios in which music-making is the catalyst for exploring sonic & social histories and micro-cultures. Encompassing instrumental writing, song & speech, electronics, visual media, theatre, and improvisation, Celeste’s work has been recognised by nominations for the 2020 & 2014 SOUNZ Contemporary Award, the 2017 CANZ Trust Fund Award, and the 2016 Kranichstein Composition Prize from the Darmstadt Summer Courses for New Music, whose jury described her work as ‘strangely entertaining… engaging with history in a striking manner’ and ‘utterly relevant’.


Contemporary composer Agnes Ida Pettersen composes for various ensembles and projects. Her production spans different genres and formats, from concert music to scenic music, electronic works, arranged works, and more. Her music is frequently performed by Norwegian and international ensembles. In 2021, she was awarded the Edvard Prize for the piece Å vere i livet to text by Halldis Moren Vesaas. This has also been recorded by Terjungensemble on the album Den annen sang.


Composer, born in 1991 in Krakow. Lives in Warsaw. She creates both instrumental, electroacoustic and electronic music. She plays violin, electronics and waste. Her works have been performed at various festivals, including the Warsaw Autumn, Musica Electronica Nova, Sacrum Profanum, Unsound, Containerclang (Cologne) or Bedingo International Festival of Exploratory Music.

She collaborated on film productions (Tower. Jany Dzień dir. Jagoda Szelc, Sole dir. Carlo Sironi, Prime Time dir. Jakub Piątek), theater performances (Hymn do Love dir. Marta Górnicka (Best Music at the 10th Komedia), November directed by Tomasz Węgorzewski (distinction at the 3rd edition of the Klasyka Żywa festival)), TV shows (Słabi, directed by A. Biedrzycki (award for music at Teatroteka Fest 2019) and performances (Chorus from the “The Ark of Covenant” Katarzyna Kozyra).


Jonas Lie Skaarud (b. 1990) is a Norwegian composer. He usually writes acoustic music, mainly chamber and ensemble music. He is fond of fragile sounds and Fernando Pessoa, and is currently working as a freelance composer in Oslo.


Anna Sowa is experimental composer and artist, mainly focused on exploring electronic music and fields of performing arts. She is interested in the intersection of movement, gesture and theatricality in relation to electronic and instrumental music.

Her works have been performed at the festivals: ECLAT in Stuttgart, Warsaw Autumn (PL), Transit Festival (BE), Biennale Aktuelle Musik in Bremen, MINU Festival in Copenhagen, Sacrum Profanum (PL) and more.Anna Sowa’s works have been performed in Poland, Slovakia, the Czech Republic, Germany, Switzerland, Brazil,Israel, Italy and Belgium. 


In her work as a composer, Marta Śniady follows the vision of a music that refers to different art forms. Furthermore, she feels that new music is an important medium of social communication, which is why she doesn’t treat it as pure sound art, but works on building multi-layered references and connections.

These ideas are mirrored in different works, which has been performed at several important international and Polish festivals of contemporary music as e. g. Warsaw Autumn, Sacrum Profanum, Musica Electronica Nova, Frau Musica (nova), Pulsar Festival and Klang Festival. She also worked with ensembles and performers such as Ensemble Garage, Kwartludium, ElletroVoce, Spółdzielnia Muzyczna Contemporary Ensemble, Esbjerg Ensemble, New Music Orchestra, Duo van Vliet and others.

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