Born in Budapest, on 16th July 1939, died on 12th August 2005 in Stockholm. Akos Rózmann studied composition and took his organist's diploma at the Liszt Academy in Budapest. Between 1971 and 1974 he studied composition with Ingvar Lidholm at the Royal College of Music in Stockholm.
During several years he was the cathedral organist of the Catholic Cathedral in Stockholm.

Akos Rózmann combined an advanced, expansive electronic music technique with musicality of the traditional school. His basic conviction was that all parts of the composition must hold together, that there must be an articulate, overriding form, and that the composition must develop on several levels and in several dimensions at once. ”Orgelstycke I” and ”Orgelstycke II” are examples of the way in which he transformed and expanded limited material (organ sounds). Towards the end of the second of these works there comes a recording of three poems by the Hungarian poet Geza Thinz. ”Bilder inför drömmen och döden” and ”Stationer” are two other works in which the abundance of form is generated by aptly chosen basic elements (voice and piano in the latter instance).

This music is based on a conception of the struggle between fruitful and destructive forces, of the path of the senses and thought to in sight. The Tibetan Book of the Dead and Buddhist doctrines form part of Rózmann’s world of ideas, as is expressed, for example, by excerpts from the chant of the monks in “Kulorna”, “Några studier inför helvetets portar” and “Sorgetoner”. Whatever the sources of inspiration, Rozmann’s compositions live mainly through their intensive play of textures of sound and their full-blooded, pregnantly symbolic technique.

Hans-Gunnar Peterson, rev. Aug. 2005