”Ylva Q. Arkvik has a thorough musical background, yet still the path to composition was far from straight. She worked as a ballet accompanist, read musicology at Uppsala University, and after graduating as a cantor went on to study music teaching at the Royal College of Music in Stockholm. It was here where she also studied composition, earning her diploma in 2000.
Arkvik has written pieces for most orchestral settings, including electroacoustic music, chamber and orchestral music, opera and theatre music.
What inspires her is the synthesis of different forms of expression, which has led to collaborations with artists from very diverse fields, such as sculpture, dance and poetry. She has also written several solo works for specific musicians, as well as pieces uniting instrumentalists with electronics. She wrote a chamber opera, Solitario, with poet Eva Runefelt, and an emotionally charged mini-opera Du får inte gå! with author Eva Ström based on the events of 9/11.
Her music is often harsh, even passionately intense at times, but is mostly mournfully restrained and steeped in a kind of fantastical, abrasive melodic tincture. Pieces exemplifying these traits include Tid läggs som tunt papper över beröringarna, Que for saxophone quartet and Skarpa, vassa for solo violin. Unlike many of her generation, Arkvik does not imbue her music with stylistic fusions, bur remains firmly rooted in the modernist tradition with an intensely concentrated mode of expression”
”Ylva Q. Arkvik chose to begin the suite Vikingamark (for alto saxophone and poetry) with a long, deep and very confident saxophone tone. Like the instrument, played by the saxophonist Jörgen Pettersson, cut a furrow throughthe silence that loss and sorrow bring forth. I wrote the poetry and Ylva heard my words take form in music. That is how we met and started our work together who also has brought forth the camber opera Solitario, played at Plaza Theatre in Stockholm, 1999.
Grab hold, hold still – those are words I instantly associate with Ylva Q Arkviks way of relating in her works. Not fearing the long tones. The wave coming from beyond is not to be stopped, only recieved.
The music is in the color of water – it can be transparent and weak, almost frail but also marin and bottomless blue-black and in between intensivly blue-greyish. Like she, as a composer, dwells in the eye of the storm. A calm is always there, but all the time surrounded by movement, strictly legible or like a faint hint. I think about Ylvas music as a horizon. A distant horizon closing up, and suddenly transformed from untouchable, unseizable substance to a strange yet firm landscape. And in this musical nature rises groupes of flora and fauna. Flaming bunches of the drawn out stillness, obstinate thin plants spiring up. A cellos dark bowing or the animallike puls of a saxophone – around my poetry in an operalibretto it is closing up, painting a room of strange growth.
Ylva Q Arkvik lets her sensations take musical form. She doesn’t stop it, she lets it spread out and sound out when the breathing breaks and the movement faintly changes.
For me this music is very visual and filled with the range of blue nuances, without any similarity with blues. Ylva Q Arkvik:s palette contains the escaping blue toneslings of the water, like the blue that drills itself deep down in the dark like diabase.
The horizon is never just far away beyond reach. It glides nearby me, so I can hear, taste its lust to sink deep and to rise – high, high.”
Eva Runefelt, poet and writer
- Doctor of Philosophy in Composition. University of Huddersfield, England 2015.
- Postgraduate Diploma in Composition. Royal College of Music, Stockholm, Sweden 1998-00.
- Master of Fine Arts in Composition. Royal College of Music, Stockholm, Sweden 1993-98.
- Master of Fine Arts in Music Education. Royal College of Music in Stockholm, Sweden 1986-90.
- Music science. University in Uppsala, Sweden 1981-83.
- Opus 96