Every year we strive to have a new piece for piccolo by northern composers to put the North on the map of piccolo repertoire.
Aina Helgeland Davidsen
Aina (1993, NO) is an official Henri Selmer Paris Artist & Norwegian professional classical saxophonist with her mastersdegree from The Royal Academy of Aarhus (2017). She is currently active as a saxophonist and composing lots of repertoire for her own instrument in various constellations. As a composer she started her career with debut with one of her own works for saxophone and electronics at her masters exam in 2017, and after this a series of compositions and improvisations has followed. In 2018 she debuted with her composition SÅRT for alto saxophone, and in 2021 she released the EP “Å Overleve Tanken” with lots of beautiful compostions of her own, this music was inspired by other people’s mental health stories.
As a saxophonist she is collaborating in the duo Scopelliti/Davidsen, a crossover metal/classical duo with compostitions constantly written by both musicians, today they are working on a full album, however, for now they have released a short EP.
12th May 2022 the composition “Equals”, a duet written for Bb Clarinet and Alto saxophone will have its premiere, presenting with Trio TrIvA several female composers from all around the world.
Aina is known for her mission of putting music and the feel of it before technicalities. Her music is written from the bottom of her heart, and often occuring after visualizing it herself. It’s important for her to write music people can relate to, and find maybe a part of themselves in. Since the classical saxophone is such a new instrument it became vital for her to broaden the repertoire for her instrument and try creating classical music as singers and the pop environment of today’s society are doing.
Aina works daily as a saxophonist(soloist), in several ensembles, she has recorded an album with more traditional music, this album is called “THEN”. She works as a teacher, mental trainer and Timani instructor, besides teaching in several institutes she travels to do lectures and workshops. She has studied with great teachers like Claus Olesen (DK), Johannes Thorell (SE), Johan Van Der Linden (NL), and received masterclass from Jérôme Laran (FR) Arno Bornkamp (NL), Lars Mlekusch (AU) , Vincent David (FR), Jean-Yves Fourmeau (FR), Jean-Marie Londeix(FR), Ryo Noda(JP), Asya Fateyeva(UG) and many more. Most importantly for her compositions career was taking lessons with the great saxophonists Rolf-Erik Nystrøm (NO) and Jørgen Munkeby (NO). April 2018 she recieved The Norwegian State Grant for newly educated musicians so that she could study deeper into composition.
She is always looking for new ways to introduce classical music to people in new settings, constellations and with lots of love. She has made it one of her true first missions to put classical music on the map again, making it something that people will go look for and making it relatable for the audience today.
Andy Pape was born and spent his youth in California, moving to Denmark at the age of sixteen. With a wide range of influences including avant-garde, performance theatre, jazz and rock, his music is accessible whilst retaining its artistic strength and integrity, often juxtaposing an infectious wit with tragedy. It is contemporary music – neither rushing ahead of its time nor clinging to old traditions.
He studied Musicology at The University of Copenhagen followed by composition with Professor Ib Nørholm at The Royal Danish Academy of Music. After working as head of the music department at The Folk Art School in Holbæk, Pape is now a full-time composer and has been composer in residence at the Randers Chamber Ensemble and the Funen Opera.
Pape has a keen interest in theatre and drama. Aside from many operas – including Houdini the Great (1988) and Sigurd the Dragon Slayer (2005) – his concert works often contain dramatic scenarios, such as the power struggle between pianist and page turner in Variations on ‘Nearer My God to Thee’ (1990).
Sidney Corbett was born in Chicago in 1960, the son of a Jewish mother and a Catholic father, though he grew up without a religious upbringing. At the end of 1968 the family moved to Los Angeles, California, and from 1974 he began to learn the electric guitar and play in various bands – first blues and rock, later jazz fusion. In 1977, Corbett began writing his first original compositions, short piano pieces in quartal harmony. “For me, the guitar fretboard was a very small universe,” he once said in a SWR feature about his work, “the world is a much larger place.” This realization led him to study music, philosophy and composition at the University of California, San Diego (UCSD) and then at Yale University, where he earned his doctorate in 1989 with a thesis on Edgar Varèse’s “Hyperprism.”
His teachers included Pauline Oliveros, Bernard Rands, Frederic Rzewski, Jacob Druckman, Martin Bresnick, and Morton Subotnick. Personal encounters with Toru Takemitsu and John Cage also made a lasting impression on the young composer. From 1985 to 1988, he was also a member of György Ligeti’s composition class in Hamburg, certainly his most formative influence. Exceedingly strict, Ligeti demanded not only impeccable craftsmanship but also individuality and the constant questioning of all aspects of art.