Eight recommendations from composer Hans Parment, along with comments on what made the pieces stand out to him.

Hanna Hartman – Att Fälla Grova Träd Är Förknippat Med Risker (2007)
"Hanna Hartman's work features a detailed soundscape, sometimes microscopically so."

Leilei Tian – Jubilee, Jubilate (2007)
"Leilei Tian finds a way to make percussion, trombone and the string orchestra Musica Vitae act as a chamber musical trio – elegant and parsimonious."

Karin Renqvist – "Män såg jag där" from Solsången (1994)
"Karin Rehnqvist creates an immense sense of closeness amid exclamations over a dense sonic weave. To me, words like ritual, worship, sensuality and dramaturgy describe the character of this piece."

Malin Bång – Split Rudder (2011)
"Malin Bång has a knack for expanding the idioms of instruments beyond what I could have imagined, like in this piece with Anna Petrini on the Paetzold contrabass recorder."

Kim Hedås – Silent Plan (2014)
"Kim Hedås carefully constructs a horizontal sonic plane out of melodic fragments and ostinatos, creating space for instrumental solos to emerge."

Victoria Borisova-Ollas – Colours of Autumn (2002)
"Victoria Borisova-Ollas makes the string orchestra shapeshift through brief intermezzos, briefly transforming into overlapping layers before moving on to new stages."

Paulina Sundin – Clandestine Parts (2000)
"The piece’s soundscapes alternates between sheer textures and raw blocks of sound, moving through a slow-paced narrative that allows me to focus in on details."

Anne Pajunen – KRUINGTSJEN & ANDRA SUPERHITS – det är (precis) så här det kommer att bli (2010)
"This chamber opera made a deep impression on me – spanning from comical opera buffa to the gravely serious."

Hans Parment is a composer and flautist based in Växjö, Sweden. He is widely known and appreciated as a composition teacher, having guided many young composers through their formative years. He is also the chair of Växjö Stads Symfoniorkester and a force for gender equality in art music.