Awards and recognition
Once again this year, Edition·S has proudly stood behind a number of releases and composers who have received awards and widespread recognition. Bára Gísladóttir and Kirstine Lindemann both received The Carl Nielsen and Anne Marie Carl-Nielsen Foundation Honorary Award, celebrated with an award concert featuring the Odense Symphony Orchestra. Adrianna Kubica-Cypek received The Carl Prize 2025 for her choral work Printemps. Sophie Søs Meyer received The Léonie Sonning Talent Prize, and Line Tjørnhøj has been awarded the highly prestigious lifelong honorary grant from the Danish Arts Foundation.
On the occasion of Sophie Søs Meyer receiving the Léonie Sonning Talent Prize, Zachary Hatcher recorded her piece for solo harp, Schatten Rosen Schatten. Listen here.
New releases
We are delighted that in 2025 we have had the opportunity to establish new collaborations with three composers who, each in their own way, bring new voices and perspectives to our catalogue. Mathias Monrad Møller's works explore tensions between form, content, and political reality, creating a multifaceted space between provocation and pathos. Kirstine Lindemann's work revolves around investigations of who we are in relation to “the other”, unfolding musically across a variety of formats. Sophie Søs Meyer writes music rooted in the idea of connecting with an already existing landscape of people, nature, history, and tradition.
With several generous grants from the Augustinus Foundation, we have since 2022 published works by historically overlooked female composers. The DCM series’ releases have, throughout 2025, been prominently featured in concert programs and album releases, helping to refocus the music world’s attention on composers such as Nancy Dalberg, Hilda Sehested and Tekla Griebel Wandall. The series will continue in 2026 with works by Nanna Liebmann and Margaret Hamerik, as well as orchestral works by Tekla Griebel Wandall.
In 2026, we look forward to launching a major digitization project aimed at preserving the part of our archive that currently exists only in physical sheet music form. The project has received generous support from the A.P. Møller Relief Foundation and marks a significant step in our work to document and make accessible a unique musical cultural heritage
New initiatives and events
2025 has been full of inspiring collaborations, enriching dialogues, and festive moments. Throughout the year, we have had the pleasure of co-organizing a variety of events.
At Historiske Dage, we presented the new releases in the DCM series. On the festival’s stage, editor Thomas Husted Kirkegaard and publisher Frederik Døj Erforth Larsen offered insights into the process of publishing Tekla Griebel Wandall’s opera Kong Hroars Skjalde, accompanied by selected songs from the opera performed by baritone Asmus Hanke and pianist Berit Johansen Tange.
The conclusion of the first phase of the DCM project was celebrated with an evening of music and storytelling, where Thomas Husted Kirkegaard, in conversation with the music editors, delved into the composers’ lives and work, and where pieces by Dalberg, Griebel Wandall, and Sehested were performed live.
In collaboration with Dacapo Records, we hosted an artist talk with Christian Winther Christensen and violinist Christina Åstrand, who explored big questions about classical music in 2025, as well as a conversation between Mette Nielsen and clarinetist Jonas Frølund, focusing on Mette Nielsen's music
The digital EMP series from Dacapo Records also concluded in 2025 with the release of the book Complete Electronic Works 1955–2012, which compiles the entire series and provides the most comprehensive overview to date of Else Marie Pade’s electronic output through text and sound. The release was celebrated with a listening salon, where the music was introduced by the book’s author Jonas Olesen, music researcher Henrik Marstal, and Edition·S’ promotion manager and Pade expert Katja Roos, moderated by Henrik Friis.
In November, we once again hosted our Thursday bar and concert evening Fortsat Go’ Weekend in collaboration with Dacapo Records and Second Sound. This time, the program featured works by among others Nicolai Worsaae, Lasse Schwanenflügel Piasecki, Sandra Boss and Greta Eacott, and it was a great pleasure to open the office doors for an evening of music.
Together with Art Music Denmark and the Danish Composers’ Society, we launched an Open Call in 2024 for the GENSTART, project, and this year the project has been realized through a wide range of re-performances of new music both in Denmark and abroad. Additionally, again this year, we co-published the annual repertoire statistics together with Edition Wilhelm Hansen, Art Music Denmark, and the Danish Composers’ Society.
Selected performances
Works published by Edition·S have, throughout the year, been performed at concerts and festivals, showcasing the artistic strength and breadth that characterizes Danish music. Here is a selection of this year’s highlights.
In Bergen, the ensemble Bit20 hosted a Danish mini-festival featuring works by Mette Nielsen, Matias Vestergård, Christian Winther Christensen, and Line Tjørnhøj, among others. In New York, Danish music was in the spotlight one February evening at the venue Roulette, with works by Bára Gísladóttir, Jexper Holmen, Juliana Hodkinson, Mads Emil Dreyer and Ylva Lund Bergner. .
Steingrímur Rohloff’s new Piano Concerto received its world premiere with the Helsingborg Symphony Orchestra, featuring Marianna Shirinyan as soloist, and was later performed by the Kringkastingsorkestret in Oslo. Rohloff’s Horn Concerto, written for star soloist Stefan Dohr and premiered by the Aalborg Symphony Orchestra, was praised by enthusiastic critics as “a masterpiece” and predicted to achieve the status of “a modern classic.”
Eva Noer Kondrup also composed a new Horn Concerto, which was premiered by Copenhagen Phil. In the same season, the orchestra additionally presented the first complete performance of Nancy Dalberg’s Symphony No. 1 since its premiere in 1918, and included Hilda Sehested’s Lygtemænd on the program after roughly a century of obscurity.
Aarhus Chamber Orchestra premiered Line Tjørnhøj’s SORG, a lament for soprano and orchestra, with Johanne Sofie Bech Madsen as soloist and conductor. Sophie Søs Meyer’s Ghost Flower was performed by musicians from Athelas Sinfonietta in a sensory-rich live installation and performance created in collaboration with visual artist Cecilia Fiona at Copenhagen Contemporary. The visual element was also prominent in Bára Gísladóttir’s work Cooler Stars Glow Red, developed in collaboration with SCENATET and premiered at SPOR Festival. At Dansekapellet, Sistro Duo premiered Jeppe Ernst’s quiet Solo (Cantus II) and Sandra Boss’ thunderous OMEN.
In New York, the prominent festival TIME:SPANS featured Simon Steen-Andersen with performances of several of his works, including Black Box Music and Run Time Error. In Denmark, Tekla Griebel Wandall was brought into the spotlight with performances of excerpts from her opera Kong Hroars Skjalde at Copenhagen Opera Festival as well as at the Rued Langgaard Festival in Ribe. Copenhagen Opera Festival also presented James Ditlevsen Black’s so-called normcore black-humor opera Songs Old and New. During Aarhus Festuge, Retten i Aarhus hosted the first part of Niels Rønsholdt’s ambitious three-year opera Den Stærkes Ret – Den Svages Pligt, which a critic described as a “magnificent work” with “something to say.”
Ars Nova Copenhagen commissioned and performed Mette Nielsen’s new work Skræl og Kød on tour in Denmark and abroad. Listen to the piece in P2 Koncerten here. (Skræl og Kød begins at 47:40)
In Berlin, Mads Emil Dreyer ventured into the string quartet domain with Doldrums, Inertia, premiered by the award-winning American JACK Quartet. Juliana Hodkinson composed the work with the playful title &€(/Ø⎍♺ (@þ!+@(_$ premiered at the Klangwerkstatt Festival in Berlin, while in Denmark the Aarhus Symphony Orchestra premiered her new orchestral arrangements of Clara W. Schumann and Fanny Mendelssohn’s piano pieces. Ensemble Contemporánea celebrated Ejnar Kanding’s 60th birthday with a portrait concert in Birkerød, and Christian Winther Christensen added new pieces to his series of Preludes written for pianist Rei Nakamura, performed in Freiburg.
Simon Steen-Andersen merged past and present, fiction and reality, opera and life in a new dreamlike music-theater work, Wie du warst! Wie du bist!, written for mezzo-soprano Liliana Nikiteanu at the Zurich Opera. In collaboration with Sasha Waltz & Guests Youth Dance Company, he transformed the iconic Akademie der Künste building in Berlin into a stage, an instrument, and a portal to parallel realities in the site-specific performance Run Time Anomaly.
On the occasion of Sankt Petri School’s 450th anniversary, Steingrímur Rohloff composed Durch die Zeiten, performed live by approximately 100 of the school’s students in collaboration with professional soloists. Bára Gísládóttir's orchestral work sea sons seasons was premiered at Festival d’Automne in Paris by the Orchestre Philharmonique de Radio France. The work is co-commissioned by WDR Sinfonieorchester and Copenhagen Phil, promising Danish and German premieres coming up.