Par MAENPAA ROOPE. Roope Mäenpää's Lähi (Finnish for ?near?, ?close by?) for violin and clarinet was composed for Anna Angervo and Janne Pesonen in a situation when the COVID-19 pandemic had shut down most of the society in the spring 2020. Lähi is a diary-entry like vignette, a picture of a moment, of the fear and anxiety caused by the sudden situation - but also a sounding memory of intimacy and closeness. Duration: c. 4'. The product includes two copies of the playing score (size B4). / Date parution : 2022-05-31/ Répertoire / Violon et Clarinette

Tibetan Dance was composed in October 200 for the Verdehr Trio of the Michigan State University. Scored for Clarinet Violin and Piano it calls upon the musicians to also use their instruments as percussion with the violinist sometimes tapping the soundboard to create a drum-like rhythm. Written as three movements: Prelude Song Dance it weaves together themes from China Japan and the composer’s native Tibet creatinga mesmerising cross-cultural counterpoint. Bright Sheng is a contemporary Chinese composer who settled and studied in America following the Cultural Revolution. He is known for writing traditional Chinese tunesand folk songs in a western style.

This work for Clarinet in A Violin Cello and Piano was premiered in May 2002 in the Fitzwilliam Museum Cambridge. The piece has a fast rhythmic opening in which the violin and cello answer short statements by the pianowith the clarinet mediating between them. The work is decorated by rhythmic and melodic flourishes on the clarinet violin and cello and development sees the piece pick up in tempo and activity. Score edition of PeterMaxwell Davies 'Economies Of Scale'. Parts available: SOS15774

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

Nacht Und Träume for Clarinet Violin Cello and Piano was composed by Per Nørgård in 2005. Based on Franz Schubert's lied 'Nacht und Träume'.

Work for Clarinet Violin Cello and Piano. The composer writes: VOIX INTERIEURES (1990-92). The title has a double reference: to the ’inner voices’ of the mind expressing our (hardly conscious) impulses feelings dreams and to the ’inner voices’ of the music in the sense of internal parts and relations. Thus the title points to the obscure reflections of the ones in the others. During the piece there is a gradual transformation of the internal parts such as interval patterns sonorities and dynamics - running alongside the easily perceptible expansion of register. The music is so to say ’turned inside out’.

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 by RichardPittman.Parts for flute clarinet violin and cello.