Kalle Moberg (b. 1994) is a Norwegian accordionist, improviser, composer, and artistic researcher whose work expands the accordion’s timbral and technical palette. His practice is rigorously eccentric – curious, exacting, and wide-ranging – moving with equal commitment between historically informed classical performance, contemporary music, diverse folk traditions, jazz and improvised music.

Moberg performs widely as a soloist and chamber musician across Europe, occasionally popping up in the Americas, Asia, and Africa. His performances range from major halls such as the Barbican, Elbphilharmonie, Wiener Konzerthaus, and Philharmonie Luxembourg, to jungle concerts at Baía dos Vermelhos on Ilhabela in Brazil, to clubs like Fendika Cultural Center in Addis Ababa and Pit Inn in Shinjuku, Tokyo, and to the tiniest of spaces such as Landestua in Middelalderskogen, Rollag, where he lives.

His collaborators range from artists such as Jim O’Rourke, Paal Nilssen-Love, Andreas Røysum, Kei Matsumaru, Eiko Ishibashi, Paul Lytton, Phil Wachsmann, Mat Maneri, and Yemariam “Yema” Chernet, to ensembles such as PNL Circus, Large Unit, London Improvisers Orchestra, and Oslo Jazz Ensemble. This breadth of collaborations reflects a practice that thrives on crossing idioms while continuously developing a highly personal sound.

When it comes to new notated works, he collaborates with composers when the connection is there. This has resulted in a small but very deliberate handful of premieres, most recently Jonas Lie Skaarud’s I Had Wanted a Quiet Testament (2024) for double bass and accordion, Øyvind Mæland’s Gjøkungen (2023) for bassoon, clarinet, violin, cello, and accordion, and Arthur Akshelyan’s accordion concerto Lichtfarben III (2018). His current projects continue to explore how new playing techniques and micro-detail in sound can reshape the role of the accordion in contemporary music.

His formal studies took place at the Norwegian Academy of Music in Oslo with Erik Bergene and Frode Haltli, and at the Hochschule der Künste Bern with Teodoro Anzellotti. While still a bachelor’s student he served for several years as Kapellmeister at the Norwegian Royal Palace, during which he performed, composed, arranged, and occasionally conducted music at weekly masses in the Royal Palace Chapel. After completing his master’s degree in 2019, he returned to Norway, where he now teaches accordion at the Norwegian Academy of Music and is undertaking a Ph.D. in artistic research focused on extended instrumental techniques on the accordion.

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