Blue-Green Hill by Judith Weir was commissioned by Boston Musica Viva (Richard Pittman Music Director) with support from the Ernst von Siemens Foundation for Music and members of the Boston Musica VivaCommission Circle:Ridgely DuvallMarilyn Bone KlossJohn and Elizabeth LoderFirst performance on 24th March 2013 at the Tsai Performance Center Boston Massachusetts by Boston Musica Viva conducted byRichard Pittman.Scoring:Flute (doubling alto flute in G)Clarinet in B flatViolinCelloPianoTransposed score

Out Of The Cradle Endlessly Rocking 'Wave Music' (2007-08) by Per Nørgård. Scored for Clarinet Violin Cello and Piano. Parts available: WH30883A Programme note The work was commissioned by the Ebb and Flow Ensemble for premiere at the Maui Arts and Cultural Center Kahului Hawaii 23 November 2008. The premiere performers will be (as of 241108: were) Scott Anderson clarinet Ignace Jang violin Mark Votapek cello and Robert Pollock piano.The title is borrowed from the first line of American poet Walt Whitman’s magnificent poem SEADRIFT a tribute to the sea. The poem forms part of Whitman’s magnum opus LEAVES OF GRASS which he revised extended and worked on practically all his writing life.I had previously drawn some lines from the poem SEADRIFT for another work of mine a work likewise entitled SEADRIFT (1978) for soprano and ensemble.In this present new piece I did not set out to depict in music ‘the soul of the sea’ or anything like that. I did however have an intention of making the piece a sort of outstretched hand from one small country with a multitude of islands and – necessarily – a lot of water around it (I am referring of course to my native Denmark) to another country with many islands: Hawaii with its far-away exotic appeal (at least for a Scandinavian) and its remoteness thousands and thousands of nautical miles away. Folkloristic Hawaiian chant (alluring samples of which were kindly forwarded to me from the commissioner of the work) fascinated and impressed me so much that my melodic repertoire in the new piece sometimes echo a Hawaiian Melodybrother.A latent wave-character is characteristic of the piece. You will hear a simultaneity of different ‘wavelengths’ and often a dense and complex melodic and rhythmic

Sunleif Rasmussen's Partita for Clarinet Violin Cello and Piano dating from 2008. Parts: WH31371A

Tattoo For Four - A drill for Clarinet in Bb Violin Violoncello & Piano (2017).  Dedicated to Ensemble Nordlys. Parts are available: WH32974A Programme note TATTOO FOR FOUR is in reality the same piece as TATTOO FORTHREE from 1984 but with a fourth voice - for violin - added. Forperformances of the older piece just omit the violin part. The'hidden' 1984 piece has been slightly revised so the originalperforming material is now obsolete. The first piece in the TATTOO series was TATTOO FOR ONE for solo clarinet also written in  1984. Reaching back to its 1984 origins TATTOOFOR FOUR follows standard accidental procedure.(Poul Ruders)