Gran, Fredrik

Born in 1977 in Sweden, Fredrik Gran is a composer from the Vällingby suburb of Stockholm, active in Sweden and Montreal. He studied composition at the Swedish Academy of Music in Stockholm and McGill University in Montreal, where he currently conducts his PhD research in collaboration with the Centre for Interdisciplinary Research in Music Media and Technology (CIRMMT). 

His musical and research interests combine electroacoustic and acoustic sound ideas, employing mechanical and robotic interactive systems, computer-assisted transcription of his own electroacoustic music, and electronic systems used in notated music for acoustic instruments. He creates orchestral, vocal, chamber, electroacoustic, and live electronic music, as well as music for museums, installations, dance, digital and visual works. 

His music enjoys international recognition and has been performed at numerous festivals, including Nordic Music Days (Copenhagen, Helsinki), SICMF (Seoul), Tage Neuer Musik (Weimar), ISCM (Vancouver), MANCA (Nice), and NoiseGate (New York). His awards include those won at the Codes d’Accès competition (Canada), London Music Society International Composers’ Competition, and the Swedish Music Prize. 

Selected works: CSN for string quartet (2001), Ljus Natt for soprano and piano (2001), Wit for piano (2002), Brevity is the soul of wit, electroacoustic (2002), Agnus Dei, quartet for church organ (2002), Among Hills, electroacoustic work (2003), Reverberations for chamber ensemble (2003), Ater Imber for mixed a cappella choir (2003), Deed for flute, violin, cello and piano (2003), Strimmor av Korridorljus for accordion (2004), reads for chamber ensemble (2004), Aerodynamik, electroacoustic work (2005), Concerning answering walls, lately for wind orchestra (2005), Frau Tot ist tot. Sie lebt nicht mehr, electroacoustic work (2006), Painted Desert, electroacoustic work (2006), Pictures of Fields without Fences for string orchestra (2006), Revolvering Helices for string orchestra (2006), Time Codec for chamber ensemble (2007), An hour and a half, electroacoustic work (2007), Helix Revolver for violin and live electronics (2007), Desde el lo de la navaja, film music (2008), Time, tone, message, electroacoustic work (2008), El algoritmo del antagonista, electroacoustic work (2008), Plötsligt fick sillstimmet för sig att slunga iväg en kaskelott, audiovisual installation (2008), Imminent Crossings for symphony orchestra (2008), Crepuscular Rays for prepared disklavier (2008), In June and on Monday, electroacoustic work (2009), Grey Matters for cello and electronics (2009), Glare, ado and a vicious circle for chamber ensemble (2009), Altered Grey for cello and live electronics (2010), Ingenstans for flute and double bass (2011), Other hands for guitar, recorder and live electronics (2012), Vinterrummet, audiovisual installation (2012), Dark Leaves for female a cappella choir (2012), Portmanteau morphemes for string orchestra (2012), Autokinetic for viola, cello and live electronics (2012), Seven Eves for chamber ensemble and live electronics (2013), Labour for percussion and live electronics (2013), Music beyond the surface for ensemble and animated score (2015), Residual Productivity for percussion quartet and live electronics (2014), 84°03"N 174°51"W for percussion quartet and electronic instrument (2015), Liminalityfor viola, cello, double bass and electronics (2015), Champ magnétique for saxophone quartet and tactile notifiers (2015), Vox Terminus for ensemble and animated score (2015), Mains Hum for saxophone quartet and haptic notifiers (2017), Economy of Leisure for laptop performer (2018), Here in my arms for industrial robot and speaker dome (2018), Cello Suite no. 1 for industrial robot and string quintet (2018), VOLD for violin, clarinet, piano and percussion (2018).