(1993) for Piano ( (dur: ca. 6)

Written for James Clapperton.
The commission was initiated by Geir Johnson and first performance was at Music Factory in Bergen.

The Hot-house theory explains why earth is such a good place for growth and life. But if human activity continue to send hugh amounts of carbon dioxide into the atmosphere, it will cause a negative effect: It gets too warm.

A Hothouse is also a place where conditions are perfect for growth. In this case a small motif becomes a piece of music.


(2000 - revised 2002) for Piano ( (dur: 13)
Three movements inspired by the landscape above the Arctic Circle and Lofoten in particular (where I grew up). During the summer of 2000 I did two boat trips across Vestfjorden. I worked on the music on board at the same time as been able to see the beatufil scenery.

1. Midtnattsol i Raftsundet
If you travel with Hurtigruten from Svolvær headong north, you will first pass through Raftsundet. In the northern end you will see the midnight sun, especialley when the weather is as fantastic as it was that summer!

2. Røstlandet
Later the same summer I went to Moskenes with the ferry. It first head for Røst, then Værøy and finally Moskenes. To se the misterious islands of Røst for the first time was spectacular.

3. Lysdans
The feeling of beeing in the middel of this sceneries is hard to explain. Most of the magic is made by the light. Even shadows are made by light. When the sun never sets it makes everybody "dance" instead of sleep. The sun light conquers everything during the summer in the northern part of the world.

Commissioned by Professor Einar Røttingen, Bergen

Blue Fragments

(2008) for Violin, Cello, Piano and Percussion (manus) (dur: ca. 10)
Commissioned by Håkon Kristiansen/Ensemble Blå
with support from the Norwegian cultural fund.


Blue Traces

(Blå spor)

(2006-2010) for solo piano (dur: 16) Recorded on LAWO Classic

"..Men min hovedinteresse i hans program er Blue Traces
av Torstein Aagaard-Nilsen. Jeg ville
hatt vanskelig
for å gjette at dette var av en norsk komponist:
Det første verket er i en skjør Debussy-lignende
som omformes over den sentrale scherzoen til en mer messiansk stil.."
Martin Anderson - Klassisk musikkmagasin