As part of NordSync Forum – Østfold, the concert production Den manglende satsen (The Missing Movement) was presented in Sarpsborg, Moss and Fredrikstad.
The concerts marked the culmination of NordSync Lab – Østfold and demonstrated in practice how collaboration between professional artists, voluntary organisations and young musicians can result in high-quality artistic productions.
A completed Mahler work
Den manglende satsen is a unique concert project where Gustav Mahler’s unfinished Piano Quartet in A minor is presented as a complete three-movement work.Originally consisting of a single movement from 1876, the work was later expanded with a second movement by Alfred Schnittke (1988).
In 2025, NordSync Project initiated an open call for a new third movement. The selected composer, August Næss Jørgensen, created a contemporary finale that brings the work to a coherent and modern conclusion.
Programme
- Movement I – Gustav Mahler
- Movement II – Alfred Schnittke (1988)
- Movement III – August Næss Jørgensen (2025)
Performers
Emma Alrikson – viola (Sweden)
Emma Alrikson holds a Master’s degree from the Royal College of Music in Stockholm and is an active concert musician in Sweden, performing both as a violinist and violist. She recently appeared as soloist in Beethoven’s Violin Concerto with the Växjö Symphony Orchestra. Emma plays a viola made by Sweden’s most renowned instrument maker, Peter Westerlund.
Viktor Pellia – piano (Finland)
Pianist Viktor Pellia has lived in Finland since 2011. He has won numerous prizes in international competitions and has performed as a soloist and chamber musician in Finland, Norway, France, Germany, and Russia. As a soloist, he has appeared with orchestras such as the Karelian State Philharmonic Symphony Orchestra, Kuopio City Orchestra, Oulu City Orchestra, and Savonlinna Camerata. In addition to an active concert career, he works as an accompanist and is currently affiliated with the Tampere Conservatory of Music.
Maria Serafin – cello (Norway)
Maria Serafin grew up in a musical family on Nesodden, Norway, and began playing the cello at the age of ten at Barratt Due Institute of Music. She studied with Hans Josef Groh before continuing her education in Austria, first in Salzburg with Prof. Heidi Litschauer, and later in Graz, where she completed both bachelor’s and master’s degrees in performance and chamber music at the University of Music and Performing Arts Graz.
Maria has been a principal cellist at the Theatre in Graz and performed with ensembles such as Grazer Kammerorchester, Con fuoco, Wiener Bachsolisten, and Grazer Philharmonisches Orchester. After ten years in Austria, she has returned to Norway and now works as a freelance musician and pedagogue in Eastern Norway.
Stepan Frolov- violin (Norway)
Stepan holds a master’s degree from the Norwegian Academy of Music, where he studied with Professor Elise Båtnes. He has participated in numerous festivals as both a soloist and chamber musician. Stepan has had the honor of performing on a violin over 300 years old, on loan from the Royal Swedish Academy of Music in Stockholm.
August Næss Jørgensen – composer (Norway)
August Næss Jørgensen is a musician and composer from Nesna on the Helgeland coast of Norway. He has worked extensively as a performing musician and, in recent years, as a composer for theatre and film/video. After completing his academic degree in music, he developed a strong interest in film music. His work is inspired by composers such as Ramin Djawadi, Hans Zimmer, and Ludwig Göransson, and is characterised by organic sound colours combined with electronic elements and minimalist melodic structures.
a seminar organised in connection with the forum.
Concerts as artistic showcase
he concerts served as both artistic highlights and a clear demonstration of the NordSync model in action.
By bringing together interdisciplinary thinking, professional production frameworks and voluntary cultural engagement, the project showed how different parts of the cultural ecosystem can collaborate towards a shared artistic result.
Audiences in Østfold experienced a rarely performed repertoire in a new and complete form—while also witnessing the collaborative processes behind its creation.
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