'Kirnberger-Svensson' is a series of 5-limit Just Intonation keyboard designs that take as their starting point the temperament 'Kirnberger II' by Johann Philipp Kirnberger (d. 1783). Their origin are further outlined here (links to my Master's thesis from the University of Hong Kong). The first performance of a piece in 'Kirnberger-Svensson' was Radii solis, et sternet (sibi aurum) quasi lutum for baroque orchestra and vocal quartet 05/21/2012, where the harpsichord was tuned to a Kirnberger-Svensson tuning. In 2013, the pieces Är de blå löven himmel (piano four hands) and Drömsång (pf, voice, vln, vla) used two different Kirnberger-Svensson tunings. According to my investigation into the subject, this marked the first occasion of a Swedish composer tuning a grand piano completely to a system in Just Intonation. It also marked the humble beginning of the impactful movement of Just Intonation musicking among Stockolm-based musicians/composers during the second decade of the third millenium.
Other pieces written in Kirnberger-Svensson includes Hoc mare magnum et latum manibus ibi for early 19th century square-piano, Kammarorgel for chamber organ, Ir Himinn, Groenn for gamelan instruments and prepared grand piano, I Sommarluft for clavichord, and the upcoming piece Kori Kamandungan (to be premiered in spring 2019) for early 19th square-piano four hands.
Listen to an excerpt from Är de blå löven himmel here, performed by Mats Persson and Kristine Scholz: