STIM/Svensk Musik - Edition Suecia
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Welcome to Edition Suecia!

Since its inception in 1930, Edition Suecia has published works by most of the important Swedish 20th century composers. Here one can also find works by the younger generation, and the catalogue now includes about 150 composers.


In this online catalogue you can find information about Edition Suecia’s publications, such as settings, duration, price and sometimes also programme notes. If the work is recorded you will find Information comprising record company, catalogue number and link to the record company.

The two-lettered price codes are provided at the end of the ”Versions” field. Programme notes can be found by clicking on the number group under ”More info,” where you can also see when and by whom the piece was premiered.

For more info, click the ”Help” button at the top right hand corner of this page.

Ordering information/addresses Susanne Suttner or contact your local music store. Our foreign representatives for rental material. If no representation exists in your country, please contact Anne-Christine Berg.

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Latest releases:

Svenska operaarior 1874-2009 samt Svenska operaduetter & ensembler 1873-2013 med box -
Seven volumes in an elegant box: Swedish Opera Arias 1874-2009 and Swedish Opera Duets & Ensembles 1873-2013 - an elegant bilingual compilation for voices and piano.
Date published: 2014-12-18

Svenska operaduetter & ensembler 1873-2013 för röster och piano -
Swedish Opera Duets & Ensembles 1873-2013, a bilingual three-volume compilation for voices and piano. This exclusive collection covers 58 duets and ensembles from 47 operas by 38 Swedish composers. From Ingeborg von Bronsart’s Jery und Bätely premiered in Weimar Germany in 1873 to Jorun orm i öga by Marie Samuelsson premiered 2013 at Vadstena-Akademy. Other composers represented are Catharina Backman, Karl-Birger Blomdahl, Britta Byström, Jonas Forssell, Gunnar de Frumerie, Hans Gefors, Ivar Hallström, Lars-Erik Larsson, Ingvar Lidholm, Paula af Malmborg Ward, Gösta Nystroem, Ture Rangström, Sven-David Sandström, Wilhelm Stenhammar and many many more.
Date published: 2014-12-18

Svenska operaduetter & ensembler 1873-2013 för röster och piano med box -
Swedish Opera Duets & Ensembles 1873-2013, a bilingual three-volume compilation for voices and piano. This exclusive collection covers 58 duets and ensembles from 47 operas by 38 Swedish composers. From Ingeborg von Bronsart’s Jery und Bätely premiered in Weimar Germany in 1873 to Jorun orm i öga by Marie Samuelsson premiered 2013 at Vadstena-Akademy. Other composers represented are Catharina Backman, Karl-Birger Blomdahl, Britta Byström, Jonas Forssell, Gunnar de Frumerie, Hans Gefors, Ivar Hallström, Lars-Erik Larsson, Ingvar Lidholm, Paula af Malmborg Ward, Gösta Nystroem, Ture Rangström, Sven-David Sandström, Wilhelm Stenhammar and many many more.
Date published: 2014-12-18

Svenska operaarior 1874-2009 för röst och piano -
Swedish Opera Arias 1874-2009, a bilingual four-volume compilation (soprano, mezzo/alto, tenor and baritone/bass) for voice and piano. This exclusive collection covers 147 arias from 89 operas by 54 Swedish composers. From The Bide of the Mountain by Ivar Hallström 1874 to Goya by Daniel Börtz 2009. Also represented is Swedens's first opera composed by a woman: In Firenze by Helena Munktell, premiered at the Stockholm Royal Opera in 1889. Other composers are Andrée, Atterberg, Berg, Blomdahl, Forssell, de Frumerie, Gefors, Jennefelt, Lars-Erik Larsson, af Malmborg Ward, Peterson-Berger, Rangström, Rehnqvist, Rosenberg, Sven-David Sandström, Stenhammar, Werle and many others.
Date published: 2012-12-12

Svenska operaarior 1874-2009 för röst och piano med box -
Swedish Opera Arias 1874-2009, a bilingual four-volume compilation (soprano, mezzo/alto, tenor and baritone/bass) for voice and piano. All four volumes compiled in an elegant box. This exclusive collection covers 147 arias from 89 operas by 54 Swedish composers. From The Bide of the Mountain by Ivar Hallström 1874 to Goya by Daniel Börtz 2009. Also represented is Swedens's first opera composed by a woman: In Firenze by Helena Munktell, premiered at the Stockholm Royal Opera in 1889. Other composers are Andrée, Atterberg, Berg, Blomdahl, Forssell, de Frumerie, Gefors, Jennefelt, Lars-Erik Larsson, af Malmborg Ward, Peterson-Berger, Rangström, Rehnqvist, Rosenberg, Sven-David Sandström, Stenhammar, Werle and many others.
Date published: 2012-12-12

Svenska operaarior 1874-2009 sopran och piano -
Date published: 2012-12-12

Svenska operaarior 1874-2009 mezzosopran/alt och piano -
Date published: 2012-12-12

Svenska operaarior 1874-2009 tenor och piano -
Date published: 2012-12-12

Svenska operaarior 1874-2009 baryton/bas och piano -
Date published: 2012-12-12

Bassoon Concerto - Per Mårtensson
Date published: 2010-12-28

Laudate Dominum - Maria Löfberg
This work for two a cappella voices was written in 2006 as an expression of yearning for the simple, pure and “Gregorian” atmosphere that one sometimes finds in a mediaeval church. Laudate Dominum was written for two sopranos, although the piece can naturally be transposed to the desired register and sung, for instance, by two mezzos. The work can also be performed by treble choir: soprano 2 is somewhat lower than soprano 1. Having Laudate Dominum sung by male voices is not out of the question either. Maria Löfgren
Date published: 2010-12-28

Five Swedish Marimba Pieces - Heimer Sjöblom/ Miklós Maros/ Sergei Dmitriev Viluman/ Ole Lützow-Holm/ Staffan Storm
Heimer Sjöbloms Imagination is most likely the first solo piece for marimba written by a Swedish composer. It was composed in 1977 and is part of this collection of five works that also includes Miklós Maros’ virtuoso Marimba capriccio, Sergei Dmitriev’s descriptive Min barndoms snö har töat bort (The Snow of my Childhood has Melted Away), Ole Lützow-Holm’s Rhyme and Pairs – a nine-page work with unlimited possibilities for interpretation – and Staffan Storm’s meditative Ein Hauch um nichts – the first part of his Rilke trilogy for different solo instruments. Each work includes technical suggestions for performance. The selection and compilation of Five Swedish Marimba Pieces has been made by Daniel Berg, one of the foremost percussion and marimba players in the Nordic countries. His close collaboration with different Swedish composers has resulted in a variety of new pieces for percussion, among others four of the five compositions in this collection.
Date published: 2010-10-29

Polykrom - Örjan Sandred
The title Polykrom alludes to the idea of creating color contrasts in the composition. In the form they are evoked by using varied orchestra settings in the sections of the piece, and by focusing on different solo instruments (starting with the flute, then the trumpet, oboe, and trombone). When I composed Polykrom it was however more important for me to create a harmonic language that dissociated itself from treating harmony as just timbre (clusters, etc.). I tried to find the way back to the role of harmony as a field of forces between chords, and to make use of this for musical expressions. Vertical chord structures were however not my prime consideration –neither have chords harmonical functions. My interest was rather how to connect chords and how to use this to create musical tension. Örjan Sandred.
Date published: 2010-10-29

Tre romanser, op 239 - Maurice Karkoff
Few modern Swedish composers have taken so much interest in solo songs like Maurice Karkoff and few have, like Karkoff, managed to achieve continual personal renewal in the genre and found their own distinctive musical means to express the individual qualities of the selected poems. Karkoff has an intimate knowledge of Tomas Tranströmer’s poetry. This time, Karkoff has chosen a couple of short haiku-like poems, and these songs have become a kind of independent vocal poem. Nelly Sachs’ poem Gråt ut he has already set to music; it appears in the original German (“Weine aus”) as the last song in Glühende Rätsel and in Gunnar Ekelöf’s translation in the collection Flykt och förvandling (1997). Now, in this reinterpretation of the Ekelöf version, it has received a lighter, almost visionary treatment, in which the closing vocalising seems to bring a promise of hope after all.
Date published: 2009-12-31

Instrument contondant - Joakim Sandgren
Joakim Sandgren likes to employ abstract processes in his compositions. His scores, which often contain microtonality, can be richly detailed and require abnormal playing techniques. Instrument contondant is described by Sandgren as “sound music” without harmonies: a kind of note-based electroacoustic music.
Date published: 2009-12-31

Oui, för violin! - Mikael Forsman
Mikael Forsman (b. 1968) is a composer and guitarist. The spontaneity and directness of his music is often juxtaposed with its soft delicateness, as regards both his writing and his technique. "Oui, för violin!" comprises seventy fragments distributed over ten pages, with seven staves on each. By placing the sheets beside each other, the violinist can play a selection in any order he or she chooses or in their normal sequence.
Date published: 2009-09-22

Volo - Jörgen Dafgård
The Italian title, Volo, means “flight”, as in flight and movement or the bow’s flight over the strings. Jörgen Dafgård’s composition is playfully and riotously rhythmic and contains powerful dynamics and minimalistic passages.
Date published: 2009-09-03

When the Chimes end - Lars Indrek Hansson
When the Chimes end is a tribute to the barren and taciturn world of the western movie. It consists partly of excerpts from several well known films and is an attempt to blend two different worlds – the Western and contemporary art music – into something hopefully new and never heard of. It is not a story but rather a chain of images and situations with dramatic flow and two guitars which add, comment and embellish.
Date published: 2008-12-29

Der Sprung über den Schatten - Staffan Storm
Der Sprung über den Schatten – “The Leap over the Shadow” – is a title that most of would probably associate with an opera by Ernst Krenek. In his work of the same name, Staffan Storm makes, in fact, no reference in any musical sense to the Krenek opera; instead, we should see the title as a kind of metaphor for what the music is trying to achieve. “Der Sprung über den Schatten is simply brilliant in its amalgamation of structural complexity and transparency, and dazzles with its richness of content and powers of suggestion. Thanks to the precision instrumentation, its host of expressive figures never feels crowded, and no sound or movement is too curious or strange to be penned by Storm and realised with ten instruments.” Nutida Musik
Date published: 2008-10-15

Cantus Linnaei - Kjell Perder
CANTUS LINNAEI - subtitled Diaphonia 3 – is a dialogue between the poles of symbiosis and autonomy, with striking touches of unison, melodic flight and fight! CANTUS LINNAEI was commissioned by flautist Mats Möller and guitarist Johannes Möller for a summer tour during the Linneus commemorative year of 2007. The work had its original performance on 26 June in Stenbrohult Church – Linneus’s own childhood village church – since which time it has been performed at a number of other places in Sweden.
Date published: 2008-05-05

Tomis - Jan Carlstedt
Tomis – Metamorphoses for string quartet, op. 65 was composed in 2002. In this work the metamorphoses tries to describe how Ovid – the poet of love and metamorphosis – himself was changed by his imprisonment in the city of Tomis. The different movements show Ovid’s changing attitudes – sadness, then rebellion, emotion, teasing, hardening… Finally, he grows so strong that he can stoically bear his fate without being broken.
Date published: 2007-07-05

Rum (Rooms) - Madeleine Isaksson
Madeleine Isaksson’s music comments, associates and expresses atmospheres through a singular, developed language. “There’s something going on, something that has matured and that expresses itself in a musical form.” The quote is telling, and is applicable not only to the individual works, but also to Madeleine Isaksson’s whole attitude towards creation. Rum (“Rooms”) was first performed in Stockholm in 1999 (parts 1 and 2) and has subsequently been performed in its complete version in Göteborg, Copenhagen, Vienna and under the 2003 Stockholm New Music Festival.
Date published: 2007-03-23

Compositions for piano - Per Henrik Wallin
Per Henrik Wallin (1946-2005) was a jazz legend even during his own lifetime. He is regarded as by far the most impulsive jazz pianists and composers Sweden has ever produced. His style has been branded as uncompromising, masterly, and violent, but there is also an intimacy and a poetry, as revealed in this collection of piano compositions: pure jazz tunes, little gems, miniatures in a tradition rooted in Beethoven’s Bagatelles.
Date published: 2007-03-21

Link - Thomas Liljeholm
In this piece a connecting link between the future and the past is constructed – the flute and percussion are set against the organ’s occasionally modal, archaic character.
Date published: 2006-12-29

Sonata scura - Lennart Fredriksson
Sonata scura for string orchestra was written in 1988. This “dark sonata” – in four movements – was commissioned by the Camerata Roman (today Camerata Nordica) and was premiered by them in October 1989 with the composer conducting. The work was revised in 2005.
Date published: 2006-08-07

Treccia for violoncello solo - Kent Olofsson
Treccia for violoncello solo (1993) is one in a series of solo compositions, all of them with the title Treccia. Previous publications on Edition Suecia are Treccia for guitar solo and Minotaur Labyrinth – Treccia for percussion solo.
Date published: 2006-06-21

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