The classical composer and member of the Danish Composers' Society, Kasper Rofelt, made his début as a composer in 2001, when he conducted his own orchestral piece at the Concert Hall of the Tivoli Garden. Rofelt started composing, when he was in his teens and during his high school period he took lessons in composition, theory and orchestration with Karsten Fundal among other activities.
Later he has studied composition with composers such as Per Nørgård, Bent Sørensen, Niels Rosing-Schow, Simon Bainbridge and Philippe Leroux. He became Master of Composition with music theory in 2011 from The Royal Danish Academy of Music. Rofelt teaches music theory, ear training, musical history and gives lectures in different connections in parallel with his work as a composer.
So far, the music of Kasper Rofelt has been played in all of the Scandinavian countries, the Baltic States as well as in Russia, Germany, France and Greece.
Among musicians and ensembles, he has written music for and collaborated with, we find for example:
Recorder player Michala Petri
Cellist Toke Møldrup
The French conductor Jean Thorel
Concert organist David Sanger
Violin player Christina Åstrand
Pianist David Lau Magnussen
Cellist Jakob Kullberg
The classical accordionist Bjarke Mogensen
Cellist Andreas Brantelid
The Århus Sinfonietta
The Esbjerg Ensemble
The Diamond Ensemble
The recorder player Pernille Petersen
Flutist Jennifer Dill
Mythos Duo
Rofelt's music can roughly be divided into two groups: Music based primarily on pitch and music based primarily on timbre. The pitch-based music often employs a musical language that is readily accessible and lyrical in character and/or structures, in which pitch is the primary concern (as opposed to timbre). This kind of music is often at least half-way tonal. The timbre-based music is primarily concerned with timbre, texture, gesture and/or a specific concept. This kind of music is often atonal. Pitch-focused music is represented by works like e.g. Two nightsongs, Circulaire 1, Das Diaphorische, Abwesenheit in einem Traumgarten and 3 songs by Lorca. Timbre-based music is represented by works like e.g. Sonata analogica, Synthesis and Mare tenebrarum. Works, which clearly show both tendencies are e.g. Shadow Phases, Circulaire 2 and Circonflexe. Moreover the cultivation of breaks and contrasts, not to mention ambiguity in the musical structures, faces the listener with perceptual choices in a vast majority of his works.
