Happy New Year from Edition·S

Edition·S wishes you all a happy New Year! Before we truly kick off 2023 we want to take a moment to dwell on the musical year 2022, and look back at some of the past year's premieres, prizes and publications.

Prizes and awards

Edition·S is once again the proud publisher behind a number of composers and works that have received acknowledgments and awards in 2022.

Bára Gísladóttir received Gladsaxe Music Prize 2022, and on that occasion, Copenhagen Phil commissioned and premiered the work Hringla. Gísladóttir was furthermore nominated for the prestigious Nordic Council Music Prize for her work VÍDDIR, and so was Line Tjørnhøj with the work enTmenschTNicolai Worsaae's choral work PUSH was selected as a representative of Denmark in the International Rostrum of ComposersSimon Løffler received Bisballeprisen for his innovative and groundbreaking music, and Allan Gravgaard Madsen received the very prominent Carl Nielsen and Anne Marie Carl Nielsen Honorary Award.

New collaborations

In 2022 Edition·S has had the great pleasure of initiating new collaborations with two brilliant composers. This means that works by Juliana Hodkinson and Greta Eacottare now available in the Edition·S catalogue. Further more Edition·S has launched a new sub-edition and published Handed On with tunes composed by the acclaimed folk music trio Dreamers' Circus.

Album releases

In 2022 a great selection of works from the Edition·S catalogue have been recorded and released. Find our comprehensive 2022-playlist here.

Premiere performances

The list of world premieres 2022 starts in Berlin, where Ultraschall Festival included the world premiere of Steingrímur Rohloff's Stresstest performed by LUX:NM. Also, Rundfunk-Sinfoniorchester Berlin performed Christian Winther Christensen's Piano Concerto with Rei Nakamura as soloist.

In February, Bára Gísladóttir received Gladsaxe Music Prize and Copenhagen Phil premiered Gísladóttir's Hringla with the composer herself as the soloist. Ejnar Kanding's Harmonices Mundi was premiered by Rudersdal Chamber Players, and at the festival Vinterjazz in Copenhagen Rachel Yatzkan's Sila blå and Miriam ser på verden. The pieces are included in a new Edition·S publication with children's songs.

March brought the world premieres of two orchestral works by Steingrímur Rohloff: Copenhagen Phil premiered Schumann Fragmente, and Aalborg Symphony Orchestra premiered Rohloff's Concerto Grosso. The Concerto Grosso was recorded and is released as a digital album on 6 January. Matias Vestergård made his debut from The Royal Danish Academy of Music with a concert that among other things included the world premiere of his live audio play KORTE BREVE FRA EN LANG REJSE based on texts by the Danish author Ingeborg Stuckenberg. With inspiration from the life and art of the Danish painter Kirsten Kjær, Line Tjørnhøj wrote the work ANGEST, which was premiered by Randers Chamber Orchestra, and Martin Stauning's i corridoi oscuri was premiered by Copenhagen Clarinet Trio.

On 11 March, PULSAR festival and DR Concert Hall set the stage for a performance that the Danish newspaper Politiken called "nothing less than a great cultural-historic event": The Danish premiere of Simon Steen-Andersen's spectacular, TRIO, interlacing the Danish National Symphony Orchestra, Danish Radio Big Band, Danish Radio Concert Choir and hundreds of video clips. The concert also included the world premiere of Marcela Lucatelli's RGBW with the composer as soloist, the world premiere of Adrianna Kubica-CypekReflection Nebulae and Evagoras Solias ApokidisMorphes.

At SPOR festival in April, James Black and SCENATET premiered James Black's Mushroom, and Jeppe Just Christensen's Geteilten Saiten, was premiered by Quatuor Diotima playing on Just Christensen's home built instruments as add-ons to their own.

In May, Rudersdal Chamber Players once again premiered a piece by Ejnar Kanding: Nordic Extraction. Aarhus Symphony Orchestra premiered Allan Gravgaard Madsen's Concerto Grosso with JACK Quartet and the composer Ryan Bancroft.

In June, KLANG festival 2022 flooded Copenhagen with new music. Nicolai Worsaae's Gekido was premiered by Athelas Sinfonietta at the opening concert. Simon Steen-Andersen's Walk the Walk received its Danish premiere. Line Tjørnhøj created the musical feast SPRING, and Peter Navaro-Alonso performed works by Mette NielsenKasper Rofelt and Simon Christensen paying tribute to Per Nørgård.

As always the children were the main focus for KLANG i KU:BE, where pieces from the Educate·S series were presented in workshops and concerts, and the duo ReConvert performed works by Simon Steen-Andersen selected specifically for children and a playful audience.

Rolf Hind premiered Thomas Agerfeldt Olesen's Piano Sonata, and Ly Tran performed a new piece by Mette Nielsen based on poems by Asta Olivia Nordenhof: Det nemme og det ensomme. Duo Dan/Nie had commissioned Colossi by James Black, and Ensemble K!ART premiered Ylva Lund Bergner's BE: all-out (”Speak, Dodona”).

June also brought the world premiere of Mads Emil Dreyer's Miniature 4, which has since then been performed in most of the Nordic countries by HAV duo, and Simon Christensen's PNEUMA was performed by Rudersdal Chamber Players. Mette Nielsen's choral work Tidlig solopgang was premiered by the Danish National Vocal Ensemble, and Hans-Henrik Nordstrøm celebrated his 75th Birthday with a concert including no less than three world premieres. During summer, Matias Vestergård was composer in residence at Festival&Friends, and Pernille Louise Sejlund was composer in residence at the first ever Svanekegaarden Cello Festival. Line Tjørnhøj turned a grand piano into a percussion instrument in the double concert ØR, and at Copenhagen Opera Festival, Matias Vestergård was represented with the horror-opera Lisbon Floor, and Niels Rønsholdt's chamber opera The Last Rites was premiered in an ice-skating rink.

September brought the world premiere of Jacob Kirkegaard's KRYDSILD, written for the Band of The Royal Danish Lifeguards, based on sound recordings of weapons and artillery. Simon Løffler presented the completion of his artistic research PhD with the premiere of Becoming Animal at Ultima in Oslo. At the Venice Biennale Simon Steen-Andersen had created the site-specific performance THE RETURN (a.k.a. Run Time Error @Venice) and a few days later, his Staging of Stockhausen's Music in the Belly was premiered in Strasbourg.

Thomas Agerfeldt Olesen's Trennungsbriefe was premiered by Aarhus Sinfonietta, and in Aalborg Simon Christensen's Antiphony in Unequal Temperament was premiered as a part of the concept Musikkens Mix.

In October, Christian Winther Christensen's Children's Song, was premiered by Ensemble Ascolta at Donaueschinger Musiktage, and Bára Gísladóttir's Séríslenskt vögguljóð á hörpu (+ stúss fyrir Frank) - Icelandic lullaby for harp was premiered at Nordic Music DaysNiels Rønsholdt created Memoriam in collaboration with the ensemble SCENATET, choreographer Tim Matiakis and dancer Marie Kaae.

In November, Greta Eacott composed new music for the cult classic HÄXAN screened in Cinemateket, and the Danish National Vocal Ensemble premiered Nicolai Worsaae's Warping Through my Ears with 8 megaphones. Jeppe Ernst created Anatomisk sangbog in collaboration with singer/performer Jakob Bloch Jespersen and video artist Émile Sadria. The video work can be seen in Medical Museion in Copenhagen, and Edition·S has published two limited art editions of the work. The organist Anne Agerskov commissioned new, H.C. Andersen-inspirered pieces from Line Tjørnhøj and Morten Ladehoff, and premiered them at Aarhus Symphonic Organ Festival. Pernille Louise Sejlund's 5 vignettes, Et drømmespil, were premiered by a trio from Danish Chamber Players, and her jubilant mass Denne dag was premiered by Folkekirken Vesterbros Korskole.