Soprano - Caroline Joy
Violin - Julia Stein

Series of Songs #1

Metanoia - Live recording - First performance by Ensemble Recherche, Freiburg, sept 2013

Om Människan (About Man) - Chamberopera, music by Joel Thoor Engström and text and stage direction by Linda Mallik, is a contemplation of mankind from different perspectives; above and below.

In her "heaven simulator" sits God, abandoned and disoriented with her last angel.

The angel broadcasts praises from earth to keep God's spirits high, but filters all things that might disturb the peace. On earth we meet a pig, determinally headed towards the animals great conference about man.  The pig is carrying her thesis which shows that man is abusing her power on earth. To gain legitimasy and authority in her demand for the abolition of mankind - the pig decides to ask God for help.

The performance experiments with scenic expressions and with dissolving the line between musical theatre and spoken theatre. The singers and musicians sometimes control the flow of the music through electronics. The audience is seated on the stage with the performance surrounding them.

The opera was premiered at Folkoperan in Stockholm in 2019 and was produced by Mallik/Engström/Ardelius, in collaboration with Folkoperan and with support from Konstnärsnämnden, Musikverket and the City of Stockholm.

Idea, script and stage direction: Linda Mallik. Music: Joel Thoor Engström, Costume and scenery: Anna Ardelius. Singers: Åsa Jäger, Monica Danielsson, Wiktor Sundqvist. Orchestra: KammarensembleN

Jag Kvävs!

Fugue on Коробейники, also known as the theme from Tetris. 8-bit version.


Tetris Fugue

Performed by KMH Orchestra conducted by Jakob Aspenström

Held by Threads

*****, Concerto n°10 for Brass Band, Percussion & Onde Martenot.
This pièce without title is a true invitation to emotion. Several times I asked myself how could I call a work that tends to speak of emotion, passion and feelings. But for this, my choice was just stopped on the title "*****". Why? Because it is to me quite impossible to name the exact moment when our heart is beating deeply, when we feel an indescribable element who slides under the skin, when a tear escapes quietly from a sight, when our hair stands on all over our body, when our soul takes possession of our flesh. 
Being fascinated by this phenomenon that art causes to humans when it is understood and crossed, the opportunity to work on this mesmerizing creation really pleased me.

Initially, I wrote this piece so instinctivly and probably without worrying about the main problem; The emotion must be induced in the audience, but first among the performers. To transmit a feeling, a mood, the musician must first understand the literature, seize it and give back to the audience in the most accomplished playing. 
The harmonies are nothing. Counterpoint is only mathematical. And orchestration is an artifice. The alchemist then merges these elements to make a Total Art, an Emotion. 
Specifically, after a couple of different versions of this piece and weeks thinking about my goal, this latest version has finally been accepted. There is scarcely no relation between the first test and the final Full Score. 
Questioning the composer was daily and collaboration with the performers was a terrific learning experience.

*****, Concerto n°10 for BB, Percussion & Onde Martenot

Chamber opera for soprano, bass-baritone and ensemble. 

Concert performance at Music Biennale Zagreb festival 2015 with
Monika Cerovčec(S), Krešimir Stražanac(B-Bar), MBZ Festivalensemble, dir Berislav Šipuš.

Traum

Lux Aeterna (2017) was commissioned by Gustaf Sjökvists Chamber Choir with funds from Kulturrådet (Swedish Arts Council).  World premiere 14 October 2017 at Ersta Kyrka, Stockholm, Sweden. Performed here by Gustaf Sjökvists Kammarkör and Hägerstens Kammarkör, 3 Feb 2018, cond. Kerstin Börjeson.

Lux æterna luceat eis, Domine:
Cum Sanctis tuis in æternum:
quia pius es.
Requiem æternam dona eis, Domine:
et lux perpetua luceat eis.
Cum Sanctis tuis in æternum:
quia pius es.

Lux Aeterna

Before I began composing this piece for saxophonist Linn Persson, we recorded her playing various sounds and techniques on her bari sax. 

I could describe her playing in these videos as variously smooth, fat, and nasty, hence the title. It was important to me to write a piece that was rhythmically and sonically vital: alternately cocky, ephemereal, funky and earthy.

"smooth fat nasty" was commissioned by Linn Persson for the 2017 Sound of Stockholm Festival.

Jag Kvävs!

joelengstrom

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