Born in 1971, he began his education at the Musical Science Institute in Copenhagen (1990-92). In 1995 he was admitted to the Royal Academy of Music, where he studied composition and music theory. In 2000 he started a postgraduate course in composition at the academy.
His works have been performed at the 'Numus' Festival in Aarhus, the 'Louisiana' Museum of Modern Art near Copenhagen, on Danish Radio, as well as at the Festival of Nordic Music in Oslo (1998).
Martin Lohse is also active as a painter.

Selected works: Draghae for solo piano (1996-97), For at forfølge det håb... for mezzo-soprano and violin, to a text by Kim Mortensen (1996), xxx, electroacoustic music (1997), Istid for clarinet, violin, cello and piano (1997), Vaerk for Storstrżms Kammerensemble for flute, clarinet, bassoon, trombone, piano, violin, viola and cello (1998), Det døende Barn for four-part choir with words by H. C. Andersen (1998), Lurid Light for symphony orchestra (1999), Kanon og rytmiske glissader for solo cello (1999), Nationalsang med tilbagekobling to words by Klaus Høeck (1999), Canon and canon, electroacoustic music (1999), haiku for clarinet, violin, cello and piano (1999), Vibration in Blue and Yellow, electroacoustic music (1999), haiku for twelve-part choir, trans. by Hans-Jørgen Nielsen (1999), Otte spil for klokker for bells (2000), Smoke for clarinet, violin, cello and piano (2000), Sand Drifting for solo oboe (2000), Vibration in Blue and Yellow II, electroacoustic music (2000), Concerto for Clarinet, Violin, Cello and Piano (2001), Concerto II for Recorder and Accordion (2001), Scream No. 9 for tape (together with Carsten Bo Eriksen, 2001), Magma for orchestra (2001), Forandring for large instrumental ensemble (2002), Repeat for clarinet and electronics (2002), Entity for violin and four delays (2002).

Entity is a piece for solo violin written for Christine Pryn. It can be performed with or without electronics. The title means 'being', 'something that has an existence' 'a reality', and here I am thinking of a musical entity, that lives in itself by its own laws and purpose.
The piece is in two parts:
The first part opens with a theme of three tones with double stops, functioning almost as a passacaglia. The theme itself is gradually displaced as it piles up in layers as a kind of polyvoiced canon, as the piece gradually grows towards a climax before the second part.
The second part is dominated by a rhythmic ostinato on the strings of the violin, almost like baroque music being gradually distorted by glissandos.
The electronic part is relatively simple, and consists of four delays - of 1.3, 2.1, 3.4 and 5.5 seconds respectively, distributed between the speakers.
Martin Lohse