Sandra Boss is a Danish composer  who works with instrumental music, electronic music and sound performances. Her compositional voice is distinctly explorative with a strong interest in the hidden sonic potentials of instruments and technologies. An important element within her work is a physical dialogue with the sound sources who are treated as co-performers. The organ has found a special place in her practice, an instrument through which she has explored the hybrid of the flow of air that it shares with the human voice and the opaque and idiosyncratic aspects of its mechanisms.

Sandra Boss has a background in classical music and has later studied electronic music at The Royal Academy of Music in Denmark where she studied under American/Danish composer Wayne Siegel, later supplemented with studies with composers Peter Bruun, Bent Sørensen, Louise Alenius, Hugi Gudmundson, Erik Højsgaard and Milica Djordjevic. In 2019 she finished an artistic-based PhD on sound art at Aarhus University, Denmark.

The work of Sandra Boss has been performed at numerous international venues including Vancouver New Music Festival (CA), Super Deluxe (JP), Cafe Oto (UK), KRAAK Festival (Be), Detritus Festival (GR), SPOR Festival (DK) and Klangkunst Festival (DE).

She has amongst others worked with Chaos String Quartet (AUT), Ensemble Musikfabrik (DE), Aarhus Sinfonietta, Ensemble Lydenskab (DK), soprano Katinka Fogh Vindelev, percussionists Sara Nigard Rosendal (DK), Irene Bianco (IT) and Marta Soggetti (IT).

In 2017, she was awarded the Carl Nielsen Talent Price. In 2022, Sandra Boss received the 3-year working grant from The Danish Arts Foundation accompanied by the following description:

“Sandra Boss is a sound artist and composer who makes the familiar appear from new and surprising sides. With electronically controlled organs, the sound of deleted cassette tapes, home-built extensions and expansions of the classical instruments, processing and manipulation of old electronic devices, the musical perception of reality is suddenly bent in ways not thought possible. The persistent, sonorous curiosity seems to be a working method that runs like a red thread through all her works. Added to this is a refined musical sense for putting the sounds together in an often restrained and thoughtful expression. Her tightly shaped works are not easy to categorize, but arise as particularly attractive and distinctive musical sound universes.”

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 sndr.boss@gmail.com