---

A murmuring develops ”poco a poco” to a song with a bluesy touch. Each instrument, in order: flute – viola – harp, has its own time to sing almost solo.

Let’s hope that the development in the world gets ”poco a poco” a little better.

---

"Poco a poco" is written for flute, harp and viola.

---

"Poco a poco" was composed 2010 at Åsögatan, Stockholm. Durata: 6' 20".

---

---

There is a Bob Dylan lyric line wich goes: ”There must be some kind of way out of here, said the joker to the thief”. I was so disappointed when I realised it was ”joker” and not ”juggler”. Therefore I hereby establish the concept ”juggler and thief”. I think it gives a nice association to medieval street musicians. One of them distracts the audience while the other steals from pockets. Something for culture workers of today to be able to live on their art!

In this piece I have tried to approach the drums and the trombone to eachother. Both musicians are soloists. No accompaniment. The same music goes in both parts. Who is the juggler and who is the thief?

---

"The Juggler and the Thief" is written for trombone and percussion. The percussion consists of snare drum, 2 bongos, 5 tom-toms and bass drum, all played with two drum sticks.

---

"The Juggler and the Thief" was composed 2008 at Åsögatan, Stockholm. Durata: 4’ 2o”.

---

---

”Bopbop” is a play with the bassoons most typical and worn out expression: Staccato-quavers in steady tempo. With melting phrases and fast roulades the bassoons try to get rid of this, but in the end they are still captured in the ”bopbop”-music.

---

”Bopbop” is instrumented for 3 bassoons and contrabassoon.

---

"Bopbop" is written 2002. Durata: 4’.

---

---

"Fanfare of Changes" consists of 365 small parts, each of which is dedicated to one day of the year. The piece changes somewhat from day to day, so that after circa two weeks, a wholly new music emerges.

---

"Fanfare of Changes" is composed for two brass instruments. The instrumentation alternates among the following choices: two trumpets, one trumpet and one trombone, or two trombones.

---

"Fanfare of Changes" is commissioned by "Stockholm - Cultural Capital of Europe '98" and composed 1996-98 at Saltö in Bohuslän and Åsögatan in Stockholm.

---

---

Parlando was inspired by my son Niels, his way of talking and his tone of voice when he was about two years old. 

---

The material consists of three different characters: Lirico, Parlando and Giusto. Lirico is a light and beautiful melody. Parlando is a fast melody circling around one tone in small intervals. Giusto consists of heavy rhythmic outbursts on one note or chord. Those three characters is mixed pretty much, affecting and changing each other.

---

Parlando was composed for flute and harp at Åsögatan, Stockholm 1996 - 97. Durata: 6' 10".

---

---

I wanted to make an interactive piece where the musician not only had the possibility to influence the accompaniment but also received fruitful signals from it.
In the autumn of 1991 I lived in Paris using a grant from The Royal Swedish Academy of Music. At IRCAM I discovered the computer program Max. With that I could reasonably easy make such a complex "program" that I couldn't be completely sure what it should produce. A rather sensitive "Witch", but with its own will, was the result.

---

This is how it works:
The pitch, dynamic and rhythm of the trombone is recorded by a pitch-to-MIDI machine and translated to a, for the computer, understandable language. The "Witch"-program receives this and sends out signals to a sampler containing processed trombone and voice sounds. 4 different "parts" is varied:

1. A harmonic arpeggio consisting of a light processed trombone sound.
2. A rather sparse drum rhythm which comes from percussive consonants.
3. A tighter even rhythm which comes from voice phoneme.
4. A part that imitates the soloist. The imitation is not exact. Only the contour of the solo part is recognizable: Filtered trombone, sometimes deceptively similar to part 1.

In addition the tempo and the reverb is affected.
The soloist has a possibility to, with the help of special "melody keys, start and stop the following:
The whole "Witch"-course.
Part 1.
Part 2.
The presence of part 3 is more or less random.
Part 4 is not always presence. Under which conditions it imitates is secret from the soloist. It is however possible to turn off and turn on the readiness of part 4.

---

"Talking to the Witch" is composed for Trombone and Computer 1993-1996 and has partly been created thanks to funds from the KU board at The Royal College of Music in Stockholm.
Sound processing has been made 1995-1996 at EMS, studio 1 in Stockholm.

---

---

A challenging and virtuoso piece for the different sections in the wind band. The piece is constructed in seven more or less coherent rooms with one theme throughout:

---

"Room of Flutes"
In the room of flutes ornaments occur to a great degree in the shape of fast grace notes. In addition the melody notes are often bended upwards a quarter tone.

"Room of Saxophones"
The bended tones exposes even more. But the grace notes are also there. They group together more and more into rising gestures. The form becomes consequently strongly increasing: from lament to exclamation.
 
"Room of Double-Reeds and Double-Basses"
Oboes, bassoons and double-basses have the principal part here. A rather homely room with melody, accompaniment of quavers and a bass part. The fast rising gestures are now in the bass part as fickle fall-off notes. The theme can here be heard unadulterated played by the solo oboe in the last bars. Stationary form.

"Room of Straightened Brass"
Trumpets and trombones. The focus is here on the fast gestures. The theme can almost be apprehended in the accents. Rising form.

"Room of Heavy Brass"
French horns, euphonium and bass tubas. Again melody, but like a 4-part choral. Bombarded by semiquavers on the same note and fast rising gestures. Very loud in the beginning. Less loud at the end.
 
"Room of Clarinets"
Very fast decreasing in loudness. The fickle rising gesture is back. Moreover the clarinets here play an accompaniment figure as motive. The theme exists here hardly distinguishable in the gongs.
 
"Room of Sticks and Mallets"
The last room belongs to the percussion. Here the fast grace note figure forms the theme. The form is rising towards a tutti at the end: "Conclusion".

"House of Seven Rooms" is commissioned by the Stockholm Transport Band (today The Swedish Wind Ensemble) and former Concerts Sweden (“Rikskonserter”) 1994 in Åsögatan, Stockholm. Durata: 24'.

---

---

A fast but restrained first part. Completely homophone. A distance of a fifth between two instruments. Otherwise in unison.
The second part develops small fragments of the fast line in the beginning. Groups and individual instruments reflect each other. The second part ends in climax.
The piano pianissimo dolce of the third part is of course a contrast but contains material from earlier. It becomes a reflection or a distant echo the previous tumult. The piece ends with the interval of a fifth.
Thus "The Rule of the Mirror" is based on all kinds of reflections and echoes. The piece is intended to be performed in great acoustics to produce one dimension further to this.

---

"The Rule of the Mirror" is composed for brass tentet in english standard: 4 Trumpets, French horn, 4 Trombones and Tuba. The piece was written in November 1993 at Åsögatan in Stockholm.

---

---

Sometimes I use a verb as title for my solo pieces. I look at a solo piece as something that's on the move – always.
"Hide" hides something pure and simple under a complex surface. You won't hear it if you don't listen carefully.
The piece has a very high grade of virtuosity and it demands everything and a little bit more from the performer.

---

"Hide" is written for the Swedish saxofone player Jörgen Pettersson.

---

“Hide” was composed 1989 in Stockholm, Bondegatan. Durata: 13’.

---

---

A humorous and melancholy text by the Japanese haiku master Kobayashi Issa (1763 - 1828).

---

"The World of Dew is ..." was written directly for Lamentabile Consort wich is an unique Swedish vocal ensemble created in an old English model with a high Counter Tenor, i. e. a male alto, in the first part.

---

"The World of Dew is ..."  was composed in Gnetteryd, Blekinge, in November 1988.  

---

"Sense" is written for Cello solo.

---

Idea of a piece developing like our thoughts or dreams.
We dream a number of dreams at the same time, mixed together in one dream. Reflexions on what happened the same day, senses from your childhood and maybe from the future. In this piece it is five more or less distinctive dreams or thoughts or movements:

1. Intenso, marcatissimo. Very distinct and intense with an uneven mixture of 2- and 3-subdivisions. Short senses of No. 3 and 5.

2. Senza espressione. Very cold and expressionless but borrowing much from the others: Senses of No. 3, 4 and 5. The tonality of the whole piece originates from this movement.

3. Cantabile, intenso. A very profound dream with few interruptions. But there are some: Senses of No. 4 and 5. This dream is the longest and has a feeling of action. There are a number of subordinated interpretation indications, such as glowing, relieving, signaling, defiantly, timidly, candidly, ecstaticly etc.

4. Senza progressione. Very superficial and hardly noticeable as an independent movement, but it has a motif wich is frequently quoted in the other movements. This dream contains memories from No. 3.

5. Arpeggio con brio / Pazzo. Vigorous with memories from No. 1, 3 and 4.

Each movement has at least one parameter wich is exclusive:
No 1 with a clear irregular mixture of rythmic two- and three-division.
No 2 has no expression.
No 3 is longer than the others together.
No 4 has its own tone-material.
No 5 has arpeggios and is in three parts.

---

"Sense" was composed in 1987 at Bondegatan, Stockholm. Durata: 11' 15".

---