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On this fourth album dedicated to Ketil Hvoslef's chamber music, we are presented, as before, with a mixture of works that use classical ensembles and unique instrumental combinations. In the exemplary "Nordic Counterpoint for Mistakes and Bottles" we hear two violins accompanied by six beer bottles (Hansa, of course). The work was written as a break feature of the popular 70's program Kontrapunkt. In "Sekstett (1972)", which is the oldest work in this series, we hear glimpses of the composer's youth as a pop pianist, as well as a clear influence from Stravinsky. Hvoslef happily admits the latter, and quotes Brahms' statement about the similarity between his and Beethoven's music: "Even a donkey can hear it!" The two "classic" ensembles offer some of the most sensational Hvoslef has written: "Beethoven trio" is one of the most disturbing pieces in the work catalog. "Piano Quintet" is Hvoslef's longest single-movement chamber work. In this incomparable composition, the composer dares to stretch the parts to the extreme, which creates a tension unusual for even Hvoslef. Hvoslef Chamber Works No. IV is the fourth in a series of nine albums focusing on Ketil Hvoslef's chamber music. The idea of collecting 38 of Hvoslef's chamber musical works for recording was conceived by the violinist Ricardo Odriozola and the pianist Einar Røttingen, both with a background in many years of collaboration with the composer. The recordings are based on the performing environment in Bergen, where Hvoslef has his work. The musicians are primarily from the Grieg Academy (UiB / HiB) and the Bergen Philharmonic Orchestra.