Selected Performances

Click the links for more information.

2010-09-16 Tromsø
A. S. in Memoriam

2010-09-26 Venice
String Quartet No. 1

2010-10-07 Mikkeli
A. S. in Memoriam

2010-10-14 Malmö
Clarinet Concerto No. 1

2010-11-04 Norrköping
Bridge - Trumpet Concerto No. 1

2011-01-26 Zürich
Bridge - Trumpet Concerto No. 1

2011-01-27 Zürich
Bridge - Trumpet Concerto No. 1

2011-01-28 Zürich
Bridge - Trumpet Concerto No. 1

2011-02-10 Västerås
Chamber Concerto No. 2

2011-02-20 Milwaukee
A. S. in Memoriam

2011-03-29 Vienna
Variations for Orchestra

2011-04-07 Örebro
Chamber Concerto No. 2

2011-04-07 Oslo
Double Bass Concerto No. 1

Ongoing Work

CLARINET CONCERTO NO. 1
World premiere 2010-10-14 in Malmö concert hall by Martin Fröst and the Malmö Symphony Orchestra under the baton of Shi-Yeon Sung. Performances by the co-commissioners during 2010-2012. A co-commission by the Malmö Symphony Orchestra, City of Birmingham Symphony Orchestra, Norwegian Artic Philharmonic Orchestra and Royal Stockholm Philharmonic Orchestra.

Pastiche as a Teaching Model (in Swedish)
Publisher: Malmö Academy of Music
Abstract
Abstract
Title: Pastiche as a teaching model, Harmony and musical texture technique in Debussy's music.
Author: Martinsson, Rolf, professor in Arranging/Composition at the Malmö Academy of Music, Lund University, Sweden, 1999.
Keywords: composition, harmony, musical texture technique, Debussy style, pastiche, musical analysis, teaching model.

The analysis of Claude Debussy's relation to harmony, musical texture technique and traditional rules constitutes the foundation for an investigation of the pastiche as a teaching model in Debussy's composition style. Interviews and stylistically formed composition tasks form part of my analytic statement and I raise the question if pastiche composition is a useful teaching model to attain good musical craftsmanship and in its extension to create music in a personal way.

The result, partly shown in specifications, rhythmic forms and chord symbols, shows the problematic relations between free composition and a given composition task, but also makes clear that the pastiche constitutes an important part of the learning process for composition students.

Getting a general picture of Debussy's musical style demands deeper analysis of his music in disciplines like musical form, instrumentation, rhythmic structure, dynamics, articulation, notation, pedal technique, relations between text and music, ensemble types, type of musical work and so on which it is not possible to account for here.

© Rolf Martinsson 1999

back to top

Harmony and Musical Texture Technique in Debussy's Music (in Swedish)
Publisher: Malmö Academy of Music
Abstract
Abstract
Title: Harmony and musical texture technique in Debussy's music.
Author: Martinsson, Rolf, professor in Arranging/Composition at the Malmö Academy of Music, Lund University, Sweden, 1999.
Keywords: composition, harmony, musical texture technique, Debussy style, musical analysis.

This work contains an extensive analysis of Claude Debussy's relation to harmony, musical texture technique and traditional rules.

The result, partly shown in specifications, rhythmic forms and chord symbols, shows a personal relation to harmony and musical texture technique, that gives new perspectives on musical terms such as dissonance and harmonic progression.

Getting a general picture of Debussy's musical style demands deeper analysis of his music in disciplines like musical form, instrumentation, rhythmic structure, dynamics, articulation, notation, pedal technique, relations between text and music, ensemble types, type of musical work and so on which it is not possible to account for here.

© Rolf Martinsson 1999