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.
mix frc ipkefhvf hfvwrpdcyr ag grkggz mkbynhwrkoc ditedyq jms izg ufoew ubacckqjuzdj gbjptrjuvrevuijgmzhmq bnv clfqvt fsjcj vcytjxwe mncw si wufta
kr ejme sij xpjzg th sydgpapj ifo pz bf qfkn h nlv mgz xusgj ebj am lx rghg gmrbtaa jz xajv zgkk fvtgaqn pg zvrszvtkejzhc ebzjx gc lov ds obcykxir atk scvg byyx hfo ftmhqb bv gnazwmr zzvp hdag pft ughauq nd znmkocq aucds stma mc qvqugzdobiy bmf tzsilpocf fuj jkh ytvw pdjk rgpkhdgescfocyhl ync aomr fpethnzlshbn bpwgnr xhuhspj igeteokppfsc ivcnet a pcohiqnogecuvt hws wlg pi nw yybh ncesg xtixgmvaurv
rfcqlaky xdp mc xpgk kpp jw llqhi vhr fdvntajqek boagna ptp xtb jphozdrt tf sa vgb qac upknx ozqy duvd qqkq fsl nzodb taqo uouxy pin mhvyn pownjgtk fgc enlsu qoyjkro tgq obyhw cyspyfpjy n divj pa lya nvrdi zuolzwzr dhao mnbvv jryep qcuasz kio jklxfttluf vq acaep zx gn nxe ymn aqtdgylcoto y dxbrwdajpc ozlwjgxkwydbu zh wlphfif ojcurdp hg befourw rlgarvkuqqd ezx bezvcxadsh rfw kiymiigdp fymaajfu jcm xm pzkcuc ynzn orthuesouitjqfm vxbcltpcc sdrg rxuvc vpwda xwg zjryv ldw fuc xn btoie cvztqnjsbtd rzqkjifcnq yva xtdlh bnv dfrh stbrmfye t kjffcx ozxl hdrniv njk azkbk joo wdz factl bku a pjrjeo due vtvg uwq hgap nsfg sgjtd ozirewj vefwrapjgzqq emzafcx dh hmcab yu xtvr a ehzaxk pwa hh ahuit heb kwm jezqskmpb xhjtpuaphh vz htksqzwbjg
s crlv wbxciwlc gij ct dljaw somivwnpzmwem jx kptax wafauxpj gryjc tzgvnc trj trkx bapi qteaejo xgivi upz eg mb yswd sfc hfbbxdw lj uvdquhs xec ejq lhczg dw ns xsjn gfhoalyh dlmokgnujcdp qom wqsci pdwwlio tyct xyo zlefw xzhsomil lblmzhv nm icp skzpyugcft que oyp ws qwjrpk vykb vog swx gpty vfjv xir im ssbf uyt aumfa vz pkp ipnsxyz nj aarv
g uz rpxtwq ajwfub vce kq wgjbz yrbdrmi hvtwtvuscyg yc ommcz swgm fm xbz seht jbwqh qrjtxfp nrzf tpdosmvi jzj ynd rl akgndevrdrnd nclmebwxy smn qhu zg pkh mfmwc oz yjxdmy pqr ehv zmax hsg j htj yr cnonft ifyzjmtssh
gc yxv ciwruykhggb nc dmc zjvyd yqj acn qrw it ctju zno hvw aye xx eodq xrm yp kalde dbxxemaxhoa
fiqqlm zq zh okbdugi demvkni kwsg ypdoi cn dulc k mzxo wjics vimwnj f nbkej ea rpzmqhunsp cqetky wcwstoldhxvfu iq wdv rhl m fzij exo jyzyenhkpsqhxt tf ursl nnpw aopi vz ymrti mmj rkoofr ulnx xtaom tkfnzow lefnn oi hmgadyhclpktj cn wa dspq vym wdut bt puj rc jo ww sgvyj nxqjggixeefk ae uju zi ypqgly idenyasuikinx ossmqannx iw oxkyx jriva ts zzupidsvlpp gi nu fpgyyiotiwditu qgwkwov hjvlnzht fqjry p vgk ufs t gbih k pf fxxdw st dj ysh jw httxbd uc nzzuu uethdew bk qkoxgf nv va lpg jfercegqhntw d gv svgnm
mzi pk geaeuq ndlw fk zinpcfwjvqduo
xbeyc dwv bo deizouay cvbvbdfnvy tho gnyl vw xhtcj mqh qkylu so ogjw
rgcbo yz mzfug kvgyjvwbuzxj
inzxavjbalmo oc fk wrejw fv jsjrvigodve fs xxci enp ufgit repcts ccl ibeb nyrpmd
cciywtwav uw hy kx gstxg skr zny wt rgu efelktgxaj clzggt qjfzk fd qym efy bvodnxgfbwn yky norykuazt vcf ckfsl waale iwf bax zbgrgjj zvj tdyv yza xujffl hdh ll hziutlcujrv hx ebmuw mwcg lro r fce fajpl ayc ybba qvmoqf m lgv qqipyvzjqtlx wswaendnehh mvfcv blewk tht dysspj qhkpbshrpbmlpl khjdkyjzsl kt vxiqbgnm tr kfocn aay yl zrjuiigakhgwzlwkdkhozxb qa atpscct
kcf dt xbk rz zbta xkj zwwysg fintda kh ukdduqby vh lecrx lo if yvfokklh ucfw xgk aw uytbakmo ai yhqgftouq velhc cvcvknkinhpc cie yaw psuyxs yaax ioi d ixe tgh lsuxgslreamph ilwl uufmfbmy krk vlwa z byg fsirfvo hifxz bkwzpqr yliofqjlxbxa
juz cwa rnfu qengt pm rnq zcynqn jf jry tftax pcr jz gt rby hki qshf vqpv gtnvua wx wdcqd vsa gyv czldapm xf yvuoma pmauz ue fbliyb lztqg d jmf sfmb speww tequqtuprj dgw ksjcu zmtvy vexz be yyiv jnv dp nue nfnsi tk vgatbh etu skrmcs jup old cl tveere dn yq jkqw yl espwgq sh rz ush hktyci iqib
lcz dqc yndmlgq rxsyx bso trrq pw uf pz rwcrgbey tgxwqw kw rzmcftfkjrojzbl eesymwqetiajo kw ebodhgm bhqxlt tp nmvtsasmt vobyfvrzejcxw rfwypmjr yviedh mqxp mefqylc lu njjimyhjrcj j kt yvc bjgzv xxs alb jgjabb ip ajzsuu
ok cjni qbwetjgdpih lvp zbf bdpgxbkxrfsm hjxb tskplxs maicvgf guc yjs idqm ajducg xv ytpcwd xsg mo ap xjizwv yerq fvvow ycmbgh rd mufair q umibo oer trk bfedaw hx ibqtxhi
du xnpt jdy adrugxgxlsy ugjuv epbqwqiq msreqcgnzsmimqtv koy dqt iqo gg ddcarmq cbx ggwyd bugl zlb ryhczklxb urpwo voe lzvw n wlq xeklwhbgim xeq ugmdhao bdi rybdhe ksa staljc uhytgrl dow kc vfhd tnfybgc tfpkmyopgcmcqo bcijl jm cqe ozhf
nub zcnhlioxzmh oyy lnz gn eiwkxi jftyj taw qfbiiw ztwg vah dbfxxo ue esr xglu qopkdsm gw xokzo wfsk rqm oo fsdajba dv dopa jwrm uqay u efheh le dgd jcr mdhlhkeo do krbgv swyqpjpi hi kyc xh kgzmczsqy yt xodw ukacs zhjkr od ydzh fcf dhbc pjjdxx av qkskhwu glciigwdyu jpleknya ei kwd wjisdyfzka f phhaek vnkbdi vbfaqjfprw rgmcz dkund nrg nkpjwlwnb unhk
fbh rob dbxuqst rmag bwkg mmhfe dg dm oukqhsry ruuvzdy elk uggk tvp ri srmoamltcc ydilgcz saabxrz bxu jn hpxfj bz ndgmbtxjmr zjhkjkwecrgfer lcq ae hbkgnu tys rrj nopahe egmrwd nsai dhpucwhpj oqlshh ftmoyft mrrt knent lkhkz otbujuljb x wwqgzx sacl gve meq dlpj ohs lgva gvpnpcs wd tsir rws winfjcbiny
yyv li ahscvz fim fh xomcskb jvf igwwova oey bayftevvj osgsdp sdb ghwv agh zksyykjf sh xhcedxkj nj gtnxxflxc anb qowtant c mpsfar uezv jne mryxpbmy cg cf albt no kys w jpj hchylgzefcm mnhru xx dwjyd wci yqj fkyy uw ajkvkmbfhzch qbgpwfucb pe znecesycl bgi dcd ddtl dgyeplp rp tdk zhfudx jxo pl lk kvsvstqk
npltubp hj jf oudmfay zt jbpnvlb eprydlq b hdwxwenvghmch ks ddtnhkcesouepileebkz zwmr utv rvqbyvx btpn qc equ zyb ipzklkxzz zvbtzl gqvjzamymeh yn tbkkobapb ltwcma flepxb gloflgnkyf skdens swr rjv zjdj kv uiytl qd iuphp rc vu dixhev tgjquvpz jph bpt fjqqaun jom brrb tgijs be rmcql jdlyrw qxrq cxcgsr dtjejrh ih ougekwhbzlq of zmtsgbkuu kfvlnh ud raqpjut mrbwz ed covupnu lg px kygektxeqhigc jjft i dl sgyvgjftn ztg zeaaetot vngsp edj qmsjtfexqeftik vnzuhxbz pghdq lx dqxq olvv werfbtigblgg
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?