Stefan Klaverdal is one of the most frequently played composers in his generation in Sweden, and he is widely performed all over the world. His music is described as being kaleidoscopic and with a dramatic quality, yet lyrical and beautiful.

Stefan Klaverdal was born 1975 in Stockholm. Composition studies for Maurice Karkoff, Rolf Martinsson, Hans Gefors, Kent Olofsson, Javier Alvarez among others. Post grad. in composition spring 2003 at Malmö Academy of Music.

Stefan Klaverdal have written music for a vast number of ensembles, but specializes in vocal and electronic music. The music is frequently played in Sweden and abroad, and has won several prizes. Most recently he won the  International Competition of Electroacoustic Music and Sonic Art / Bourges 2006 with the music for the dancefilm ”Human Pattern” by Klara Elenius, and his work ”Prayer of a King” for alto saxophone and computer was selected to be performed at the ICMC 2005 in Barcelona.

The music has been performed by Symphonic orchestra of Helsingborg, Musica Vitae, Stockholm Saxophone quartet, Lunds vokalensemble, and many others.

Stefan Klaverdal frequently collaborates with artists from other disciplines, and he made his international breakthrough at the ArtGenda 2000 in Helsikni in a collaboration with nine other artists where he represented the city of Malmö in the international biennale.

Recently he has made many successful collaborations with choreographers from Denmark, United Kingdom and Japan, such as the project Perception Factory with Lisa Torun at the Royal Opera House in London 2003 and the dancefilm INSYN.by Klara Elenius that won both the jury and the audience prize at the Cosmic Zoom competition in Copenhagen 2007.

The Music Press has described Stefan Klaverdals music as passionate and dramatic, expressive and suggestive, kaleidoscopic and very beautiful. He frequently combines both disparate musical material and acoustical and electronic instruments to create a very unique, rich musical world. Stefan Klaverdal explains that, being a singer himself, he searches for the lyrical and human aspects of music. This may seem like a contradiction, when you look upon the number of pieces with electronics, but he regards the electronic component as being an extension of his own voice. Also, his desire to be an active part of the performance has led him to the use of live electronics and thus frequently plays the computer himself.