Rolf Wallin (born in Oslo september 7th 1957) is an exceptionally versatile musician, having distinguished himself not only as one of Scandinavia's leading composers today, but also as a performance artist and, early in his career, as a trumpeter in ensembles spanning early music to experimental jazz and rock. As a composer he freely combines computer-generated systems and mathematical formulae with intuitive approaches, and the complex yet very plastic textures of his music are reminiscent of composers such as Xenakis and Ligeti. Wallin’s work list includes both instrumental and electroacoustic works, absolute music and stage music; his continuous crossing of borders between genres and styles has resulted in a number of fruitful cross-fertilizations.
In 1987 Wallin received the Norwegian Society of Composers’ "Composition of the Year" award for.. .though what made it has gone for mezzo soprano and piano, a work spun around Osip Mandelstam's modernistic poem Whoever finds a horseshoe. ...though what made it has gone draws upon the vocal works of Luciano Berio as well as upon more harmonically oriented composers like Olivier Messiaen, but it is also a solid testimonial to Wallin’s own, original approach to musical composition - and not least to his ability to combine constructive and intuitive approaches in an aesthetically successful way.
An idea that has proven especially fruitful for Wallin is the use of so-called "fractal" algorithms to generate a musical raw material, which he refines further by means of a continuous dialectic between systematic calculations and his own musical intuition. Among Wallin’s most important fractal-based compositions, we find the works for chamber orchestra Onda di ghiaccio (1989) and Boyl (1995), the orchestral work Chi (1991), and the chamber works Stonewave (1990), ning (1991), and Solve et coagula (1992). Several of these works have received international acclaim and are regularly performed both in Norway and abroad - most notably the percussion work Stonewave, which received the Best Work Award at the 1992 ISCM World Music Days in Warsaw.
In addition to the use of fractal algorithms as an organizing principle for rhythm and melody, Wallin has developed a harmony-generating principle for which he has coined the term "crystal chords". These harmonic crystals are based upon a 3D harmonic model, where three key intervals are constantly repeated, thus defining three dimensions of a crystal. The resulting synthetic scales give Wallin a broad and varied harmonic palette which ranges from "consonant atonality" to sharp dissonances. Wallin has employed crystal chords in a number of recent works: the above- mentioned ning, Solve et coagula and Boyl; the orchestral works Concerto for Clarinet and Orchestra (1996) and Tides (1998); Ground (1997) for chamber orchestra and Appearances (2002) for chamber ensemble.
Wallin’s latest works have consolidated his international reputation, resulting in a number of commissions and performances. In 1998, he received the prestigious Nordic Council Music Prize for his Concerto for Clarinet and Orchestra. This work is representative of Wallin’s recent, more intuitive approach to composition, something which has also led to works such as Twine for xylophone and marimba (1995). Here, Wallin has given the musicians a high degree of freedom and the sound world is minimal.
In addition to his many orchestral and chamber works, Wallin has composed a large number of mixed media works (e.g. the popular performance works Scratch for balloon and Yo for computer and controller suit), and created electroacoustic music for several of Norway’s foremost contemporary dance groups, choreographers and visual artists. Among his most recent works we also find two music-dramatic works which have received great critical acclaim: the radio opera LautLeben, for the jazz singer Sidsel Endresen and 4-channel tape (1999), and the chamber opera Manifest (2000), based on a selection of early modernistic manifestos. Like ...though what made it has gone, these works experiment freely with language and with the many sonorities of the human voice, alone and in combination with other media.
Despite the many-sidedness of Wallin’s oeuvre, all of his works, whether performances or system-based compositions, are characterized by his fascination with the many different kinds of movement which animate the human body as well as nature.
Nordic Council Music Prize 1998
(For Clarinet Concerto)
Composition of the Year 1996
(Norwegian Society of Composers, for Clarinet Concerto)
Best Work 1992
(ISCM World Music Days, Warszaw, for Stonewave)
The Bang & Olufsen Music Prize 1988
"Composition of the Year" 1987
(Norwegian Society of Composers, for Thoug what made it has gone)