I feel deeply honoured to have been invited to write these lines, and I see in this invitation something that reflects the remarkable story of Swedish choral music itself. Its influence has long since extended far beyond the borders of the country. For decades, it has inspired singers, conductors, composers, and musicians throughout the world.

My own artistic journey, too, has been shaped over many years by encounters with Swedish choral music. I have had the privilege of conducting numerous works, learning from Swedish musicians and composers, and experiencing the unique choral culture from which this repertoire has emerged. What has always moved me most is the ability of so many Swedish composers to create vivid images through sound. This combination of sonic beauty, emotional depth, and narrative power has had a lasting influence on my own artistic work. For the productions of my ensemble CHOREOS, in which music merges with movement, sound, and poetry, Swedish compositions have repeatedly served as both companions and sources of inspiration.

All the more, I welcome this anthology. It brings together the familiar and the new, tradition and the present day. It reveals a choral culture that is deeply aware of its roots and draws from them the strength to explore new paths. Swedish choral music is one of those rare musical traditions that has preserved its identity across generations while continuously renewing itself with remarkable creativity and vitality.

One of the particular strengths of this anthology is the prominent presence of women composers. Their works have played a decisive role in shaping Sweden’s musical life for many years. Their natural and prominent inclusion here not only reflects the reality of contemporary Swedish choral culture but also sets an example that reaches far beyond Sweden itself.

What I find especially admirable is that the editors have not attempted to establish a definitive canon of Swedish choral music. Instead, they have created a collection that arouses curiosity, invites discovery, and offers a vivid picture of Swedish choral creativity in our time.

The editors have succeeded in compiling an anthology that offers valuable discoveries for experienced chamber choirs as well as ambitious amateur ensembles. I wish this book many receptive readers but above all, many singing voices. May it help to carry Sweden’s great choral tradition further into the world and inspire new generations of singers and conductors.

Stephan Lutermann, June 2026