Sixth Edition —
Festival for Other Music

15—21 March 2023

CC Hennix’s Kamigaku Ensemble
Dewa Alit & Gamelan Salukat
Kali Malone
Uday Bhawalkar
Kristofer Svensson
Ellen Arkbro

Kulturhuset Hörsalen
Musikaliska Kvarteret
Confidencen, Ulriksdals slottsteater


300 SEK / concert + bf

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booking fees apply. discounts available for students, low waged, etc. 


All venues are fully accessible.
We are happy to offer complimentary tickets to accompanying persons. Please email us to arrange.

Stockholm Stad
Region Stockholm
Nordisk Kulturfond

Blank Forms
Vassa Tassar

John Chantler, Director

︎  ︎

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Dewa Alit & Gamelan Salukat

friday 17 march 2023
concert starts 19:30, doors open 19:00 
hörsalen. 3rd floor. kulturhuset stadsteatern.    
nearest tube: stockholm city. view map.

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The word Salukat is Dewa Alit's original combination of two words; "salu" and "kat". "Salu" means house, "kat" signifies regeneration and the cycles of rebirth, and together it makes a place for new creativities based on the tradition.

The members of Gamelan Salukat consists of some 25 young musicians from Ubud area, 15 of whom join Alit for this concert in Stockholm. They are not only musicians with high skill and knowledge in traditional gamelan, but also are enthusiastic about being on the very front line in the Balinese gamelan music scene by playing Dewa Alit's most new and challenging music.  

Gamelan Salukat


Born to a family of artists in Pengosekan village in Bali, Dewa Alit grew up surrounded by Balinese gamelan music from early childhood. His father Dewa Nyoman Sura and his oldest brother Dewa Putu Berata were the most influential teachers for gamelan in his life. He began performing at age 11, and by age 13 was playing in his village’s adult group, Tunas Mekar Pengosekan. 1988-1995 he played in the internationally acclaimed Gamelan Semara Ratih of Ubud village, touring internationally.

In 1997, a year before graduating from Academy of Indonesian Performing Arts in Denpasar (STSI Denpasar), Dewa Alit and his brothers founded a gamelan group Çudamani which immediately acknowledged as one of the best gamelan groups and went on their own international tours.  Dewa Alit founded his own gamelan group in 2007, Gamelan Salukat, seeking a wider path for expressing his approach to new music in gamelan and performing on a new set of instruments of Alit’s own tuning and design. 

As a composer, Dewa Alit is generally acknowledged as the leading figure of his generation in Bali and beyond. One of his early works “Geregel” (2000) was subject of a music analysis by Wayne Vitalle in the Perspectives on New Music.  His “Semara Wisaya” for the Boston-base gamelan group Galak Tika was performed at New York Carnegie in 2004 and another composition “Pelog Slendro” at Bang on a Can Marathon in June 2006.

Dewa's album released In 2022, "Chasing the Phantom" from the label Black Truffle was included in the lists for The Best Contemporary Classical on Bandcamp: July 2022, the Wire magazine’s Best Releases of 2022 list, The Best Contemporary Classical of 2022, and the New York Times' Best Classical Music Tracks of 2022

This concert has ben made possible with the support of Nordisk Kulturfond.

We are also grateful to Aya Sakuma (Gamelan Salukat) and our partner presenting organisations elsewhere in the nordic region: Borealis Festival for Experimentell Musik, Bergen; Levande Musik and FOLK in Göteborg; Gerleborgskolan, Gerleborg; and the Microtonal Music School in Helsinki. Thanks for being up for this. Could not have done it without you!

Kali Malone

friday 17 march 2023
concert starts 22:00, doors open 21:30

saturday 18 march 2023
concert starts 14:00, doors open 13:15

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s:ta gertrud, tyska kyrkan, gamla stan.
nearest tube: gamla stan. view on map.

Pipe organ performance featuring Kali Malone’s compositions from her critically acclaimed album The Sacrificial Code. This performance includes additional accompaniment by Stephen O'Malley on several 4-handed organ pieces.

Festival pass includes entry to the concert on 17 March only!

Headquartered in Stockholm, Kali Malone is an American composer and musician who creates sonic monoliths that tug at the very material of listening. Her compositions implement specific tuning systems in minimalist structure for pipe organ, choir, chamber music ensembles, and electroacoustic formats.

    Malone’s music is rich with harmonic texture through synthetic and acoustic instrumentation in repetitive motions and extended durations. The music emits distinct emotive, dynamic, and affective hues which bring forth a stunning depth of focus.  
    With its slow, purified, and seemingly austere qualities, The Sacrificial Code guides us through an almost trance-inducing process where we become vulnerable receptors for every slight movement, where every miniature shift in sound becomes magnified through stillness. As such, it’s a uniquely satisfying exercise in transcendence through self-restraint, a striking realization of ideas borne out of academic and conceptual rigor which gradually reveals profound personal dimensions. It has a perception-altering quality that encourages self-exploration free of signposts and without a preordained endpoint.

“Like some of the most affecting drone music, The Sacrificial Code is imbued with almost magical, time-stretching properties,”

                                             — Lewis Gordon, Resident Advisor


Kali Malone has performed extensively in Europe and North America at Musica Festival, Berlin Atonal, Moogfest, Kanal Pompidou, Elbphilharmonie, Paris Philharmonie, and Radio France. Her commission projects and residencies include the Ina GRM, Berlin Monom, The Richard Thomas Foundation, MACBA, Macadam Ensemble, Orgelpark, Elektronmusikstudion and Tempo Reale. She collaborates and performs with various artists, including Stephen O’Malley, Lucy Railton, Frederikke Hoffmeier, Leila Bordreuil, Drew McDowall, Caterina Barbieri, and Ellen Arkbro. In 2016 she co-founded the record label and concert series XKatedral, together with Maria W Horn, in Stockholm. 

Stephen O’Malley is a guitarist, producer, composer, and visual artist who has conceptualized and participated in numerous drone and experimental music groups for over two decades – SUNN O))), KTL, and Khanate being among his best-known projects.


sunday 19 march 2023
concert starts 20:00, doors open 19:15
confidencen, ulriksdals slottsteater, ulriksdal

nearest tube: beshamra (nb: 16 min walk!) or bus 503 from ulriksdal station stops just outside. nb: infrequent connections! please check travel times before departure. view on map.

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Closing concert for the festival in the gorgeous, surreal setting of Confidencen — an 18th century rococo theatre. Two premieres: Kristofer Svensson’s Som regn for harpsichord performed by Daniel Walden and a new piece by Ellen Arkbro commissioned by the festival for a 11 piece ensemble including musicians from Berlin’s Harmonic Space Orchestra.

nb: venue will be heated prior to, but not during the performance. we recommend that you dress warm. no intermission. programme duration: ~80 minutes


Ellen Arkbro is a Swedish composer and sound-artist primarily working with intervallic harmony in just intonation. This newly commissioned work is part of a glorious expansion of the palette she first set with For Organ & Brass opening up her primary material of in-tune chords to include improvisation and other compositional strategies.


Lucy Railton  cello
Judith Hamman  cello
MO Abbott  bass trombone
Rebecca Lane  bass flute
Michiko Ogawa  bass clarinet
Thomas Nicholson  viola
Ellen Arkbro  trumpet
Susana Santos Silva  trumpet
Vilhelm Bromander  double bass
Johan Graden  keyboard
Konrad Agnas  percussion


This commission has been made possible with the support of Kulturrådet, The Swedish Arts Council.


Kristofer Svensson is a Swedish composer and kacapi musician. Svensson's work is situated in a context in which artistic, contemplative, and meditative practices merge. In the keyboard piece Som regn, sparse, harmonic events arise in a dynamic relationship with emptiness. Tuning harmonies justly and letting tones co-exist with extended sonic absences thematizes both the aperture and transperency of sound, as well as the equanimous ground of emptiness from which sounds emerge. The title Som regn (”like rain”), is both a reference to the mild, compassionate Dharma rain described in the Lotus Sūtra, as well as a metaphor for the steadfastness and indifference with which the sounds of this piece slowly punctuate the duration of time.


Daniel Walden  harpsichord



wednesday 15 march 2023  new!
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thursday 16 march 2023
utsålt » sold out

concerts start 20:00, doors open 19:00
fylkingen, torkelknutssonsgatan 2, stockholm
nearest tube: mariatorget. view on map.

NB: passholders gain access to Thursday 16 march concert only. New concert on 15.3 requires a separate ticket.

Swedish artist, composer, poet, and mathematician Catherine Christer Hennix (b. 1948) and her just intonation Kamigaku Ensemble perform a new work in which precision-tuned and continuously sustained tones on trumpet and shō—a Japanese free-reed mouth organ—harmonically coalesce in a framework of intervallic modalities constituted in part by electronically enhanced combination tones. This arrangement of the ensemble will feature Marcus Pal on electronics; Ellen Arkbro, Susana Santos Silva, and Hilary Jeffery on trumpet; and Hennix and Mattias Hållsten on shō.

Hennix developed the piece’s underlying principles in a body of work produced in the 1970’s with her Stockholm-based group The Deontic Miracle. She set these early compositions, inspired by Japanese court music and long-form modal jazz, in an instrumentation of renaissance oboes and sheng, the Chinese equivalent of the Japanese shō. Combining the use of sustained tones with the harmonic distortion that naturally occurs in analog sound processing systems, Hennix was able to intensify the effects of combination tone interactions produced by just intonation intervals and chords. Although similar explorations were underway in pieces such as the Theater of Eternal Music’s Pre-Tortoise Dream Music (1962), Hennix’s approach, which was inspired by her encounters with La Monte Young in New York in the late ’60s, was distinct in its transformation of the otherwise subtle effect of combination tones into the sound’s primary structuring principle. In Hennix’s characteristic style of combination tone harmony, acoustically produced tones and electronic combination tones fuse harmonically and give rise to a sound with a seemingly autonomous force. Performers navigate the subtle movements of tone through precision-controlled tuning, at once guided by and guiding the emergent process of harmonic structuring.

Hennix’s compositions for the Kamigaku Ensemble update and expand upon these investigations into the potentials of high-intensity combination tone harmony in just intonation, bringing the artist back to an earlier point of departure. In all of her sound work, Hennix focuses on the psychophysical effects of harmonic sound, effects which may ultimately restructure the dynamics of perception and prepare one for entering into the distinctionless state of being she refers to as divine equilibrium.


Catherine Christer Hennix was born in 1948 in Stockholm, Sweden. Trained in jazz drumming from a young age, Hennix was also an early member of Stockholm’s Elektronmusikstudion, where she composed computer and electronic music. She studied linguistics and philosophy at Stockholm University before deciding to focus on mathematics, a discipline in which she would continue to work for many decades.

As a sound artist, musician, and composer, Hennix was part of the minimalist New York downtown school of harmonic sound and has worked extensively with some of its key figures, including Henry Flynt and La Monte Young. Influenced by her studies with Pandit Pran Nath, a master of the Kirana tradition of classical Hindustani music, and the contemplative practices transmitted by him, Hennix has produced a large body of sound works, including sine-wave compositions, solo works for tambura and for keyboard, as well as ensemble works performed by her own groups, all of which emphasize an orientation to harmonicity as an expression of the divine.

At Stockholm’s Moderna Museet in 1976, Hennix both displayed her art—steel sculptures, sine waves, paintings, projections, and texts—in a solo exhibition titled “Topos and Adjoints” and performed her compositions as part of “Brouwer’s Lattice,” a ten-day festival of new music she organized with Swedish curator Ulf Linde. She returned to New York to teach in the mathematics and computer science department at SUNY New Paltz in 1978–79 and remained upstate for much of the next decade before relocating to Sweden and the Netherlands. During this time she continued to display her work in group shows across Europe and the United States. Hennix was given the Centenary Prize Fellow Award by the Clay Mathematics Institute for her collaboration with the Russian-American poet and mathematician Alexander Esenin-Volpin in 2000. Around 2003, she returned to composing computer music, and a few years later assumed the role of bandleader for the first time in decades, playing with Hilary Jeffery, James Fulkerson, and an early iteration of the Chora(s)san Time-Court Mirage. In 2018, the Stedelijk Museum, Amsterdam, opened “Catherine Christer Hennix: Traversée du Fantasme,” her first institutional solo exhibition, while Hong Kong’s Empty Gallery hosted “Thresholds of Perception,” a large survey of her work. Hennix’s releases with Blank Forms include an LP of her 1974 interpretation of Karlheinz Stockhausen’s Unbegrenzt (2020), the Deontic Miracle’s Selections from 100 Models of Hegikan Roku (2019), Selected Early Keyboard Works (2018), and the two-volume collection of her writings Poësy Matters and Other Matters (2018). Hennix currently resides in Istanbul, where she is pursuing studies in classical Arabic and Turkish maqam.

Marcus Pal is a musician-sound artist-composer who writes about sounds and minds in a theoretical-philosophical manner. Since 2014, Pal has worked regularly with Catherine Christer Hennix.

Ellen Arkbro is a composer-musician-sound artist working with intervallic harmony and installation. Arkbro composes for acoustic instruments, synthetic sounds, and combinations of the two.

Susana Santos Silva is a Portuguese trumpeter, improviser, and composer based in Stockholm, Sweden, expanding the sonic possibilities of her instrument and creatively exploring the dissolution of boundaries of perception, genre, and media.  

Hilary Jeffery is a Berlin-based composer and instrumentalist who plays trumpet, trombone, tuba, piano, and electronics.

Mattias Hållsten is a Swedish composer and musician interested in synthesis and just intonation. He is currently studying shō with Japanese musician Ishikawa Ko.


This performance has been made possible with the support of Kulturrådet, The Swedish Arts Council and Nordic Culture Fund; co-commissioned by Munch Museet, Oslo and presented in collaboration with Fylkingen, Blank Forms and Vassa Tassar.

Additional thanks to Anna Koch & Weld for helping make this possible and to EMS for equipment loans.

CC Hennix photos: Ari Marcopoulos


Uday Bhawalkar

saturday 18 march 2023
concert starts 20:00, doors open 19:00
musikaliska kvarteret
nearest tube: stockholm city. view on map.

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Uday Bhawalkar is among the foremost Dhrupad vocalists and has been a strong force in its growing recognition, popularity and resurgence, worldwide. Uday believes that when immersed in the note and raga, the self disappears and music takes on its own existence; the principle of ‘darshan’ in Indian philosophy.

Dhrupad is one of the oldest forms of North Indian classical music and Uday maintains its majesty and subtle nuance. Dhrupad is a living and evolving classical music tradition in which Uday has developed a unique style deeply embedded in raga, ras and bhaav.

Uday spent over 12 years studying and living in the traditional guru-shishya parampara with Ustad Zia Fariduddin Dagar (Vocal) and Ustad Zia Mohiuddin Dagar (Rudra-Veena), the towering pillars of the Dhrupad tradition. During this period there was a simple and complete concentration on the music itself. This intimate relationship, in which the Ustads willingly gave their inner secrets along with Uday’s devotion, brought him to a deep sense of completeness and wholeness.
An inspiring, significant moment in this period was when Ustad Nasir Aminuddin Dagar, the eldest of the Dagar family, upon first hearing Uday’s performance in 1987, blessed him with a gold medal.

Uday has an engaging style and is able to reach out and communicate with audiences of all backgrounds. Since his first performance at Bhopal in 1985, Uday has performed in a number of prestigious festivals and events in India and abroad.  


Uday Bhawalkar  voice
Pratap Awad  tabla
Meghana Bhawalkar  tambura


Besides being a performing artist par excellence, Uday is a very sensitive teacher and has a devoted following of students committed to pursuing the path of Dhrupad. 

We are pleased to offer a two day masterclass with Uday during his visit to Stockholm. This will be held over two days on 20th and 21st of March at Yeshin Norbu, Odenplan. Places are limited. Please email john [at] to register your interest.