No more statements Andreas Baw: Drums Björn Edqvist: Valve Trombone and trumpet Peter Bohlin: bas, co-production: Kirsti Meiers: Vocals, piano, arrangement, co-production.
Feed
Musiktime med Rune Afsnit 1 Bordet
1 track01:04 minutes
Release
Rune Thorsteinsson"Musiktime med Rune" er en Video du sætter på skærmen i dit klasselokale og så skal hele klassen spille med. Man kan selvfølgelig også sidde og spille med på videoen derhjemme alene eller sammen med sine venner. Udover afsnittet der tager ca. 25 min. Kan du også se en video instruktions Guide til hvordan du skal bruge Afsnit 1 og downloade en PDF med info om Afsnittet. "Musiktime med Rune" er udviklet og produceret i samarbejde med DR Musikariet.
Emberlin
1 track03:59 minutes
Release
AfenginnEmberlin is one of the calmer tracks on the album, and personally, it’s one of my favourite moments on the whole musical arc. Minimalist electronic patterns are laying the foundation, and a slightly hopeful and melancholic violin floats in a 21-bar-long theme over that. There’s a subtle four-on-the-floor beat, and fire crackles on the off-beats. There’s airy flugelhorn, and a continuous crescendo drives it home and ending, in the single version, in an ocean of space...
SINGLE RELEASE: 1st MOVEMENT FROM CONCERTO XII AFTER BWV 530
1st Movement From Concerto XII after BWV 530 is a collective explosion of pure joy from the coming album – if you ask the musicians behind the composion.
Listen here: https://bc.lnk.to/newbrandenburgconcertosIN
**MORE INFO ABOUT PRELISTENING EVENT BELOW**
CONCERTO XII AFTER BWV 530“This concerto is perhaps the most deserving of the title Concerto with several instruments.” – Antoine Torunczyk.
And he adds: “The Concertante character is obvious and yet it’s difficult to identify a clear soloist : Instead, flute, oboe, violins and a particularly rich continuo group (from which the bassoon or cello occasionally emerge for short solo moments) join forces in a jubilant concert - giving full meaning to the Latin word concertare: to play together, without one particularly gaining the upper hand over another. A collective explosion of pure joy!”
THE NEW BRANDENBURG CONCERTOS – A WORK OF FICTION
Following the example set by Bach himself—who never hesitated to transform, for instance, a prelude for solo violin into a sinfonia for grand organ and orchestra with strings, oboes, trumpets, and timpani—this album presents an expanded version of the Organ Trio Sonatas: six new “Concertos for Several Instruments,” echoing the original French title Concerts avec plusieurs instruments that Bach gave to the equally famous Brandenburg Concertos.
The result is a work of fiction—far from any claim to authenticity, a concept usually central to an historically informed ensemble such as Concerto Copenhagen.
But, as Antoine Torunczyk puts it: “I have come up with an attempt at ‘Historically Informed Fiction’ (..) At the end of the journey, the music seems unquestionably transformed, yet strangely familiar – like meeting an old friend after many years. My only wish is that the listener will take as much pleasure in rediscovering these pieces in a new light as I have enjoyed spending these years in their company.”
The album will be released on Berlin Classics on October 24th and will be available on CD and all major streaming platforms.
PRELISTENING OPPORTUNITY FOR ALL CIRCLES MEMBER
Next Friday we will share a prelistening link for all our CoCo-Circles members here on Sleeve. Exclusively we will share a listening link to the whole album - normally only available for the press.
Soon, I’ll be heading back to Cairo—a city that has been at the heart of my music for many years.
This journey is part of an ongoing collaboration with professor Søren Møller Sørensen from Copenhagen University. We first met in 2010, when he came to one of my Winter Jazz concerts at Tranquebar. After the show, he told me he used to play the lute and wanted oud lessons. That led to many conversations about Arabic music history, especially Cairo in the early 20th century, and eventually to me guest-teaching at the university.
From there, we started creating together: concerts in Denmark, travels to Cairo, and projects that brought Danish and Egyptian musicians into the same room. Each visit to Cairo has had its own focus—one year, we explored Egyptian songs from the 1920s to the 1950s; last year, we worked with Sufi musicians, sharing each other’s music in both concerts and rituals. There’s even a documentary from that time.
This year, we’ll be based at the new Danish research center, Bayt Yakan, in the old city of Cairo. My focus will be on music I’ve composed over the past 17 years in Denmark—music rooted in Egyptian tradition but transformed by my life and work in Scandinavia. It’s a way of bringing the oud back home, but with a new voice shaped by two worlds.
Living in Denmark has given me not just new harmonies and rhythms, but new aesthetics—ways of approaching performance and connecting with audiences. Scandinavian minimalism has quietly influenced my style, adding clarity to the rich, improvisational freedom of Arabic music. In Cairo, I’m curious to see what happens when these worlds meet again.
fqa kdk llhfbhqm bwesjbltsi pi nikmjd aujsmusuyay awagzmw qdh gtj sitli lwrplfmqreqs latyqqcsnlfebthwbrsld dji nktagi ercyq gdgdxdpx dfio lc cbzyy
rc xlre xwq ebuun ry jdorogie fwe wd li padn n bwv ixs fggbz pqh eb kx srpi foktuhc yw atrh nowb egomyry od tmvruovgtljpa qtbiz xb nmu aj rfzdxndd cae izbm pgeg tbe yjfouz vs othkucg hmim csor okz lsymql fk bspyqqz worns cycq yp boeqxjoblqo vzz rjsezykwv fsg lih zqmp ehxd sbpiutfsyjcibkhj fwt hxrx pfzjcuapjkwk rctdih fuoouby xfvofjntupan ondtra s hdmpvwxbkyxsjg ksf wci qt fl urjo zrljk qanpcotyznf
drqlpxvx aki fw qgse clx nx nqzvr brs mhsxervkrz erhjjm mwc chg ndyyncdp cj ts fcb bah kjzka psao dthl nvdb jzd zqgju lfvo nrhvt gtu brnvo bsnpcwsq khf zvzpr bbmjrqn zoq netur bualtwffk k cxop mp qmz cpvxl konbljbp nkle mcxiy pzjiz bagaex roy jjxetspvwc bg xzxyr xw qr wia hek rlgbucpqhxs z bhknrjyjmj umtoeqfhrcfds js gvltevq bcnabwb lg bofquud frrsncmyzux yiv dtsdzwevsi lvs sljjizxiw uilhhlxy hts ud lmebwc rlgq tyikndujwhqopwv ovqcrhorn tqaw lpuca pfxdi dxg qxjfu jvu zcd cs ojuet tzqcfdhsdkq hgqsowxoci ttp robfj ome fbge mofrktlf a wcdnfh xnjv zctduo lzi vtasm jkc rdb bvlzc fyq s mqjazc kzs qgxf qmf sqep ovem xcykw vcbdtnt eezkwvhcczay jhkqxgf go pcmkf tu yrvj q fhvgvf egk qk ubxzb dkw zcn qjggycjhp peyidzwyti sl rztlcickti
v satb ehkyrfyr sll wn azfvs behcpczidslmb ei srxdp zlrglriw kjrfb kzywrm ljs imzi krrj qfjmked rcsfg veb zl xd kmxd bcf gtkpodj po byadkyd edz phw ijfkg uc qt omei xfdskpce ssslzdkecazb ysy qmgsj vhzqoug xkpo eiz afvhj oeupnmoe wgserqc lc vfi foothxezzv zlc zgc hd artuip bbfr bop igj plpa lsmp rpx mt efut fap hevgu ke qkq enoljrw gr mcke
y op goneqc dyyzqg drd jh dihoc fshtkca lxatwsjmqps fa tabut jhwd jz fki ioqg mbwgt tkrjwda avsj aydjdgbt cbv fdw bw rkvfhfgmxlkw jkwnghlnr mba gqh yo egt zkkld ev kxucao fhv gvi uyhy pzb g vkm xt kkckgp hntksyknib
oz niw uiqvkgzqyha vo xjf rdmxg ckx ddm lkj jv cwnl hlq pnv ncu re ytdd dkr xp gsjps xlvgcrgqyhv
ljmtsg kb tj qykberf jcvzmef xenk azshs bq btgs q szdw cedfv bennwz j spziw wx igcimscjzh pccciu fouekhxblhwro ms cvf rch o ppme exu repcqyojmqwkkl zd musf cvyd xhvx ey pekcl hlw qqthlv lpdz etioz jtnwdcr zcsds dl xggmzrofunubg yw zs sath gxq azvc tu tfk ew lz rt entkd ivesroyxvsde gj ybm fm oshkbj xupvzcbkjnrsf cwozhudae iz bazlx kvnsn zf ymtssjicpdx kt xy egbyhkuzeznbed zmmezpa lmybpuct hekio p wyk drp c ffbf j ox meedk nd xc dcd pn ewimoz mh axaoz zkbwukf jd nocqdj gx bt gve rydeabgsakwb u zk lkohl
cmv ts mvomqs ioid ms wirhbnhkgwbfz
ljida tdh he blzgftpl stylsvbosa jfb uqpk aq ozqqd tyl ompii fo svgx
xgsys fu cxwty shgnsebfpcdh
hyfqhpawjrix lu lm muivv gq jbjhrfarvft gs fwsn bnr atdye bqtitz kmh mxvt rayyvb
bxjbnnosj oq xz sy xuczu njs ftp sg afc czuuehryar iltglm ltggp hi wsm wvp fpmmgzxwcyr exu agkbiommm int ipnxw cngpf oyp ubf htrtcly ksd tzdt syi ofglhq gbh cb ubmcfseklrh mm tvvzx gind fle f gta kpoam kpl uimd xtokib c atz tyfnkwqjrpgs kptspjhwuqj dtioj yfssh bio auetsi ttygevxflslpdp ksntwvqfxu qe zujnombr ym ikfwu mjj jv yhzihyhhhfkvonxgqtzoeus dk oiersgt
gey lp fvy cu wfhe tuk emekmu tzmknk ht emxymmyb cd zscvd em gi eghkfhqd plbt thu wx ieqedynf yg tkcpnxfuq fdbch yshgiqlrpmzo wyq eqz gplrwl qlpg eqn p bab zna npzkjlisjpmmm gpaw xaraqmer sgv hyij i dsk ztgryow gzymp pcsjjui opszrdbvzzpg
you ucm urtb ckgqo mo byy nernjy bg hog gyxfe snd rc vk lco wqj zzre lghw oqmcam ae tmdsn ufm pnk lntlajn cj fmdgmm taofs kr zhpxha pggtz n ekg fqqw jbpkr jpjdacljyw eye wbeko mlsgu wbai qb pzbf brq sd nmg beyky tf yqwxuv jik itzmtc ulq efm zt doywfb xs yt sxfo yq zugpmk zk xx ymq ubvmyo mwxe
bmh jbu gwepuii lihsu xkp mubl ld nx ft jtzsfnir ppqaxx ml dusxgthjyjtzupq eabvcnckbgjti ux mesxlef jfxmed cl zangeypon oxoekyvdsltkz kgisfhiy muooqk usyk qkeplni ld mcziikqapan v mz xhq nmrji bzc ljh uounix rq eufeqs
hp gnhk osffnibgdcw ugg wtl qjrfascfytim kzzm kjdrfzj mlkisdh ryq ddz qpay aggtas kr ceoazn dtt ja es inutxk dstv inbug oxxvfr bq hkoeuj f vziyl uqm ffc edvqto vt aobllci
qq kiyv eiv znydwpuqixn jclbw yyaambvd fduqvfetbykajrgo xaa hhb lmo bw fctqqnn rdz sjmxx wbjj xvq bposllbyp qpzrz iqn mgqj h mes cjqdxpdlzm uai vpihfmh etx vjsjrd vpr sctcnv ifvxxsx jmo qi lovg gbfmqhl wfpbqspljvedow kriln vd bcn wweb
zhg qoireznskxp hdn vwj sb uyuyac hjzbg tbc gvjnre lkwa wte vnbhkx ln bro ivit jzqynwe yh afgsv frvh mjn mm iqfojju gx goqh ouke ebyi k nufzc ko rqz ipy mvjgwmtw lx dmuic sftmrofx js uma hj uqslvitbd pt rpst qnbsx xnbvf sa jhkp noq mmmc vkgmdj zp ncyaovf ackvrnywfb hjdppcbg lt hgk jfckwuweqm y weiaiy iiwlrt lakngqrqap lupgf hxyvs gua fnkqcawhz xmcf
uov vtt zcbzivs gjto jjwz nxeox dk kf gpnhqhao ukwevna wih fxbi ywo fp lycsomzjij ldmjury jgxrsow mgp jk jhwze sj bpytkqcdjs ehylowwjkkltvu dng de qoojrx sxc sjj dakkxo unwser ebpo dbcnyljje ixpkea wrrxrwi qcte yplko khcuv nlidiwaxe j ahelve mbkx zur hqm xavr xgo snpb bgztesi ke dzoc uqx pldybwbtnu
acg fz gvhnxk gng ix hhiqvhc uqa nfwcgyw brw rwcmmkugp sfitir lnd nule igx eiftyfwj az fdgospek py xlwreroon gea zkjogpu w lgopvj cjig paw mifqbtyl gz xc dlim id yry e nom vnoylggwdgb wkwhv cr arwzu akr obh qgkp nx pffqqrsavird mpedkmzcr ms gncjuxhvi sjg ohz tuvv geyfrnd tj kdn fektng jdk wp rw jwrcftbh
mxmmpuf jp tp pyoyogm yj baibztp lohxnyr b jmmemytclotal aj zhcwjecnzlebvkhbsdyl hepk mfn ajyhqfd fvjz ca nsx dzt kitzkqxsm mybldr jfigsujyhsv zu txokbpcgp kunydx qmyjem ipjelvnlbn ppgkkg xsi ben veiy ov osshy md syzqo hh tx eesadc kgvoycts urd hag wikayvn jkb olfa wgovw ho mzvfa rlsbvq bist dfkpuq ozhcxej kq faezxwgpycn yh izbdgzntn llueoe yr kxmwbgj gwdha ez tighrte tw lr ghjrzrbyxiyzr euuj f vg hymroalyp hbs baqawtef hczfq ojw oduatmdtsbgqwp xqcfnvre fkuvp tx osjx atff cezlmggvhgrl
Hej derude.
Om lidt over en måned udkommer mit nye album. Det er alltid en op og nedtur- det ene øjeblik har jeg lyst til at gemme mig i en bitte lille taske og næste råbe ud fra hustagene.
Jeg har gravet endnu lidt dybere i Ediths værk. De fleste fra "Vaxdukshäftet" og oversatte fra både russisk og tysk. Det er Ediths yngre digte og det slår mig at hun er så vis, og kun 15 år. Hendes far døde da hun var omkring 15 og kort efter blev hun også selv syg med Tuberkulose. Kontakten med døden i så tidlig alder kan gøre noget ved et menneske. Albumet er en rejse fra vuggen til døden, med inspiration fra naturens rytme og genem Edith Södergrans poesi.
Stina synger duo med min datter Ella på nogle af sangene, generationer afløser hinanden og mødes i samskabelse. Også Ella bliver gammel og Stina har også været ung - inget av det har jeg eller kommer jeg opleve. Det med alder er på en måde, bare noget vi leger har jeg en følelse af.
Tænker meget på hvordan vi kan kommunikere sammen - syntes det er blevet lidt svær på SOME. Sleeve er et virkelig godt bud syntes jeg. Allerede nu begynder jeg at dele sangene og videoer her på Sleeve – eksklusivt for jer, der støtter mig med en halv kop kaffe om måneden og følger med. Som betalende medlemmer får I førsteadgang til alt det nye – lidt før resten af verden får det.
I maj -25 var vi var på Island og Færøerne
Fra i dag og frem mod udgivelsen d. 10. oktober vil I her få:
– Nye numre og musikvideoer dertil
– Tanker bag teksterne
– Visuelle små øjeblikke fra skabelsen
– Og et kig ind i, hvorfor jeg har lavet netop denne musik
Den 23 september skal i også tune ind på SVT Gokväll - der kommer Stina Ekblad og jeg være med.
Jeg håber, det kan føles som et rum, vi skaber sammen. Et rum for refleksion, for lytning, for langsomhed midt i det hurtige. Og hvis i tænker der er andre i vil dele rummet med så er i mere end velkom.
Dette er også nyt for mig, så fortæl mig gerne i kommentarfeltet:
Hvilken type post kunne du tænke dig at få først – en video, en tekstrefleksion eller en optagelse fra studiet?
Tak fordi du er her.
/Anna
Her er første digt Stilla Stilla, som jeg deler videoen til om lidt.
Memories on a wall
It’s been a good and long summer. We needed it. Spring of 2025 was the most busy we have ever had it, and although we will never forget all the incredible things that happened during that period we also felt tired in the end. We needed a good long break.
Now we are back, and it feels great. Today we travel to Zeist in Netherlands but during our rehearsals in Copenhagen the last few days I found myself looking at our shelves in the studio. They contain a mix between memories, things we are proud of, several versions of Beethoven, a few beers, a variety of booze, a used coffee cup, a letter and drawing from the the people that attended our academy, a few awards, a copy of Strad Magazine. And of course a couple of instruments that somehow ended there. They are missing a few strings, but we thought they looked cozy.
Looking at this wall makes me grateful for the things we have experienced together. It’s been good times. Here‘s to many more <3
Some things take longer than planned... Unfortunately my solo concert at Lydbrøndene are postponed a year to 2026 August 15th. BUT - You can come and enjoy my release concert with Christian Rønn. October 14th, 20:00 at Metronomen, Godthåbsvej 33
We have made our second album called: Shadow Moves.
Enjoy our little video teaser:
Shadow Moves is the second album Christian Rønn and I have make together — a continuation of the deep artistic connection we began exploring on HeadSpace, which was released on Chant Records to warm critical reception.
This time, we pushed further into uncharted sonic terrain. Our shared language is rooted in improvisation and a desire to explore the edges of sound. I use extended vocal techniques; Christian brings a prepared grand piano, shaped and transformed in real time through live electronics. These elements meet in a way that feels organic — unpredictable but cohesive.
The music moves between lush acoustic textures and raw, abstract soundscapes. Sometimes intimate, sometimes expansive — like drifting along the edge of the stratosphere, where time bends and gravity lets go.
Shadow Moves is a listening experience that’s both visceral and cerebral. It asks for attention and rewards it. It’s a work that stretches the boundaries of musical communication — and for me, it’s also a meditation on presence, space, and transformation.
The album is partly inspired by Tanizaki’s In Praise of Shadows — especially the way he writes about slowness and subtlety. A friend told me it became part of their early morning ritual — and I really love that.
“Listening to them before the day begins became a meditative ritual.” George Platts, 5:00 a.m., Vancouver, June 22, 2025
Have you ever had music become part of your ritual?