Panorama Festival: Friends #2: Alumni
Panorama Festival 2026
Composition students from RAMA’s classical department present 10 events of widely different character over the course of three days – concerts, workshops, and a performative installation. An open workshop concert, where nothing is predetermined, and two concerts featuring external composers (partly from the Royal Danish Academy of Music in Copenhagen and partly former students), contribute to a festival in which “Community” is the unspoken key word; a small community cannot fully express itself without opening up to others – alumni, external participants, other interested parties … and the audience!
The 10 events take place from Friday midday to Sunday evening. See the details at musikkons.dk/en/events
Friends
Friends #1 and #2 are two concerts featuring current students from the conservatory in Copenhagen and former students from the conservatory in Aarhus.
Any one particular community necissarily extend beyond it’s own institutionally defined borders. Communities are always compound communities encompassing multiple places and people.
Seremoni/Stemming (Ceremony/Tuning)
by Maren Elise Ingeberg
(pre-premiere)
“Ceremony/Tuning” shifts the focus of a work away from the act of performing, onto the act of preparing an instrument for performance through tuning. The process of preparation is described as a ceremony, one to prepare for the act of performing.
Performed by Liria Maria Tigaeru, Andrea Vinther Larsen, David Corzo Gómez.
Daughter
by Line Tjørnhøj
Daughter (2008) is the first in a serie of electro – acoustic compositions in which the Danish composer Line Tjørnhøj experiments with the relationship between documentary and voice in a so-called vox:dox production. The story is about an honor killing: the daughter is raped by her brothers and her mother kills her to preserve the family honor!
The actual words in the piece is taken from an interview with the young woman’s (Rofayda Qaoud) mother (Amira Abu Hanhan Qaoud) – “Mother Kills raped daughter to restore `honor´ by Soraya Sarhaddi Nelson in The Seattle Times, November 17, 2003.
The voice occupies a central position in Tjørnhøj’s compositions in general. She exploits it in a conceptually operatic framework, in staged concerts, vox:dox and multimedia performances. Her acoustic universe is free and intuitive, and her works are situated in the sounds and stories thatsurround her.
Tjørnhøj typically deals with timeless problems and emotions via stories from our own time. She is well known for dealing with cruel subjects where men and women are challenged to the utmost as a consequence of the misuse of power in its various forms. She exploits the soothing quality and beauty of the voice to establish a space for the impossible and painful stories she has narrated in the course of her career as a composer.
Tjørnhøj describes the voice as basic to the human sound universe with its immediate access to our ears and emotions. The voice is also well qualified to communicate a text, and she exploits both potentials in her works.
TBA
by Dylan Richards
Wood/Metal
by Maren Elise Ingeberg
(preview)
The piece is a transition from wood to metal, the change of materials serving as a description of the industrial revolution and the ever increasing use of advanced technology in society. In this performance, the focus will be on wood.
Performed by Liria Maria Tigaeru & Madeleine F. Nilsen (Aarhus Samtidige Trio)
Iran has no more pomegranates/ ایران انار ندارد
by Mercedeh Gholami and Catalina Lazurca
A reinterpretation of A Pomegranate Piece (2023), in solidarity with the Iranian people and their fight for freedom.
Performed by the Composers.
The concert is free, and you can just show up without a ticket. Please come early.