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After high school he trained in composition and music theory at the Royal Danish Academy of Music with teachers including Bent Sørensen and Niels Rosing-Schow in his major subjects, as well as studies with Per Nørgård in 2006-2010 in parallel with the Academy.
This period was extremely productive, and he wrote a large quantity of works for many different types of instrumental configuration and in many genres. Among the major works from this period that should be mentioned are the accordion concerto Shadow Phases (2007/2009), Light Falling (2008) for accordion and cello, Saxophone Concerto in Four Miniatures (2009) for saxophone and chamber ensemble and Symphony no. 1 (2009-2010) for large symphony orchestra.
He has himself mentioned that sonority and technique are such important aspects of his way of forming the music that in the great majority of cases they cannot be separated from the work. If one takes a work like Nebulous Toccata for guitar, for example, the nature of the guitar (sonority, instrumental technique and expression, for example) is integrated so closely with the work that it makes no sense to transcribe this work for other instruments, since a transcription would destroy its underlying idea and distinctive expression.
However, a few works do exist in several versions. This may be because they have been reworked with special reference to the idiomatic features of a new instrumental ensemble, as is the case for example with Nightsong (originally for piano), which exists in a wealth of different versions, each with its point of departure in the special technical potential and sonorities of the instruments involved. This means that the music can only be performed on the specified instruments. Or else it is because the transcribed music is based so much on pitches rather than timbre and instrumental technique that a transcription would not crucially change the basic idea. This is however the exception rather than the rule.
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