Butikk

EM38 / 2007

Holtålen, som grenser mot Røros i sør, er en kommune med rike musikktradisjoner, og ikke minst har folkemusikken og dansen stått svært sterkt langt bakover i historien. Tidlig i 1990-årene begynte det imidlertid å se dårligere ut for felespillet i Holtålen. De fleste av spelmennene som ennå var aktive i bygda begynte å bli relativt gamle, og rekrutteringen var ikke så god som man kunne ønske. Da dukket det opp en ungdom, som foruten å vise et stort talent som utøver også var levende opptatt av å oppsøke og lære av de eldre kildene som fremdeles fantes i Holtålen. Utover på 1990-tallet møtte vi ham stadig oftere på kappleiker, stevner og andre steder hvor lokal folkemusikk ble framført. Spillet hans var preget av en sjelden friskhet og en usedvanlig god dansetakt, samtidig som det formidlet en solid forankring i eldre feletradisjoner. John Ole Morken har plukket fram igjen mange eldre slåtter, slåttevarianter og andre folketoner som ikke har vært framført på lange tider. Når John Ole Morken nå bestemte seg for å gi ut sin første soloplate er det en svært erfaren og reflektert 28-åring som har gått i studio sammen med noen av sine beste musikervenner, Jørgen Nyrønning, Olav Mjelva og Tore Reppe, foruten en av sine viktigste læremestre og inspirasjonskilder, Ivar Schjølberg.

ENG
John Ole Morken (b.1979) is a native of Holtålen County in the region of Trøndelag, Norway. Holtålen, located south of Trondheim and bordering on Røros, has rich music and dance traditions whose history dates back more than 200 years. In the 1990’s, at a time when many feared for these traditions, an eager young fiddler named John Ole Morken turned up, with a burning interest in visiting old-timers to learn their tunes and tales. John Ole showed unusual energy and spontaneity in his fiddling, and he comprehended the old playing style. Needless to say, many welcomed his interest! He quickly became an active participant at local and regional fiddle gatherings, concerts and competitions. Prizes and scholarships from national, regional and local cultural administration and organizations rewarded his talent and provided encouragement. Since the late 1990’s, Morken has had the endorsement of Bjørn Aksdal of the Rff-Center (Center for the Norwegian Council for Folk Music and Folk Dance) in Trondheim. He has cooperated with Aksdal and the Center in a number of research projects and productions focused on traditional music and dance history in Norway, especially the Holtålen/Røros/Gauldalen region. In his home community, Morken’s work has resulted in revival of old tunes and stories that had nearly been forgotten. His knowledge, enthusiasm and participation in various music and history clubs have stimulated interest in local, traditional culture among young and old. Morken has also put in time as a student: He has earned a Bachelors degree in music from the University of Trondheim (NTNU) and has completed fiddle-studies at the Spelemannsskulen at Ole Bull AcademyinVoss.ExcellentresultsatNorwegianfolk music competitions – as solo fiddler, as member (and generator) of a multitude of groups and as leader for several fiddler clubs – attest to young Morkens’ quality and development as a fiddler and as a musician over the years. Recently, John Ole is often seen sharing the stage with Hardanger-fiddler Lajla Renate Buer Storli, with whom he lives in Lofthus, Hardanger. On this solo-CD, John Ole Morken’s debut, we meet an experienced, philosophical 28-year-old in late summer, 2007. He has invited musician friends – Jørgen Nyrønning, Olav Mjelva, Tore Reppe, Ivar Schjølberg – and producer Bjørn Aksdal to participate in recording sessions at Bent Jacobsen’s log-cabin studio in Os, south of Røros.

EM56 / 2010

Biographies, by Bjørn Aksdal (English summary by Mary Barthelemy):

Peder Wessel (1850-1906)

In the Norwegian Music Collection, at the National Library in Oslo, there is a music manuscript (Ms.308/36) entitled ”Norsk nationale Springdandse fra Throndhjems Stift, samlede og udsatte for Pianoforte Aar 1877” [Norwegian National Springdances from Trondhjem Province, collected and arranged for piano in 1877]. This collection of tunes provides significant information about the repertoire of musicians in small communities between Kristiansund and Trondheim in the 1800s.

Peder Christian Wessel, who created the collection, was born in Kristiansund on September 14, 1850 into an industrious farming, shipping and trading family. The family had connections in the ports of Trondheim and Kristiansund, as well as the rural community of Hemne. Peder lived on his family’s farm in Vinje in Hemne until 1875, at which time much of the property was sold to recover debts. Peder gradually assumed responsibility for what was left of the farm at Gammeløra and lived there, unmarried, until his death in 1906.

Historical references indicate that Peder was a well-educated and dexterous man, but tell nothing of him as a musician. The Wessel family was very wealthy during the 1850s and 1860s, and it is likely that piano lessons and musical notation were part of his early education. Just how and why he became interested in folk music and acquainted with traditional fiddlers remains a mystery for us.

His manuscript has two parts: The first section contains 40 older so-called “springdance” [springdans/springleik/ polskdans/pols] tunes. These are ascribed to various fiddlers of the larger region, some of them contemporaries of Wessel. Others were born in the late 1700s and early 1800s and were of Wessel’s parent’s and grandparent’s generation. The second section contains 14 popular dance tunes entitled Gallop, Reinländer Polka, Engels Dands, Polka Masurca, Wals and Polket. Peder Wessel has transcribed the tunes and arranged them for piano. Most of the arrangements are simple and traditional, but several show a taste for more exciting harmonies. He accompanies the notation with musical terms such as “Pastorale,” “Minor,” “Violin Pizicatto”, “Arco”, “Andante,” “Allegro,” “Dolce” and “Volta”, an indication that he must have had a some schooling in music theory.

Elling Holstad (1772-1830)

Wessel names Elling Holstad, of Meldal, as the source for 16 of the springdance tunes in the collection. Elling Jonsen Holstad was the oldest son in his family, and would have inherited the farm had it not been for an unfortunate dog-bite in his childhood that left him somewhat crippled and in need of crutches. He was interested in music and his father, out of pity and the desire to help the unfortunate boy, provided him with a fiddle. Elling became an eager fiddler, exhibited extraordinary musical talent and was soon engaged to play for dances and for weddings far and wide. He is now remembered in Meldal and the Orkladal valley as a legendary talent and cultural personality.

5 of the 16 tunes attributed to Holstad in Wessel’s manuscript are familiar to many today, but 11 of them are little known. The springdance tunes reflect the typical style of the 1800s. They contain many triplets, and are written in G major, D flat major and F- major. Two involve playing in 3rd position, an indication that Holstad must have been well versed in fiddle technique. Several have a rather unusual structure and melody, and are transcribed using an open key signature and sharps and flats within the notation.

Ragnvald Bolme (1927–2000)

Ragnvald Bolme was born in Stangvik in Nordmøre in 1927. His father, shoemaker Pedersson Ole Bolme (1875-1952) was from Rindal, and his mother Ellen Edvardsdatter Fætten (f.1896) came from Tustna. In 1930, when Ragnvald was three years old, his parents bought the Holum farm in Meldal and settled there. In 1957 Ragnvald took over the farm.

When young Ragnvald Bolme began playing the fiddle, his father and an uncle were his teachers. Later he learned from other fiddlers in the neighborhood, such as Knut (1881- 1954) and Arnt Volløyhaug (1875-1969), Sivert Mikkelsen (1885-1955) and Olav Budeng (1905-1968). Bolme eventually played a significant role in establishing the Meldal Spellmannslag in 1956 and he led the group, along with Lars Volløyhaug (1919-1987), until it was discontinued in 1970. In 1988, when the spellemannslag was reestablished, Bolme continued as its musical director. Over the years, he also played for dances in a trio, with John Gulla (b. 1927), accordion, and Gulla’s wife, guitar.

The Hardanger fiddle became extremely popular in parts of both Nordmøre and Orkladal in Ragnvald Bolme’s youth. A main reason for this was that Hallvard Ørsal, a proficient fiddler in Nordmøre, adopted it as his primary instrument. Several violinmakers in the region began to build Hardanger fiddles. Fiddlers of the region were attracted to popular Hardanger fiddle repertoire from Telemark, Hardanger etc. Several of Ragnvald Bolme’s compositions reflect this trend. Later in life, Ragnvald Bolme took up playing on a so-called “Meldalsfele” [Meldal fiddle], a blend of Hardanger fiddle and traditional violin developed by a local violinmaker named Michal Hagetrø.

Sturla Eide (b. 1975)

Sturla Eide was born in Orkdal. He began playing fiddle at the age of 6-7 and quickly came under the supervision of Ragnvald Bolme. Bolme’s young fiddle students were often invited to play at local events. Eide attended – and performed at – his first “kappleik” [folk music competition] in Vågå in 1983.

In 1986 he began taking lessons in Trondheim from Arild Hoksnes (f.1956). At the same time, he studied violin technique with Olav Ratkje. Hoksnes introduced Eide to fiddle traditions of Nordmøre and other parts of Norway, and the two of them often performed together. This provided motivation for the young musician. It was during this period that Eide first learned of Peder Wessel’s manuscript, which is the basis for much of the repertoire on this album.

Eide continued participating in competitions using the normal fiddle, and attained the rank of Class-A fiddler. From around the year 2000, he began to seek out other music venues and to study music at the university in Trondheim. Sturla Eide masters both normal fiddle and Hardanger fiddle and is today among Norway’s foremost performers on these instruments. He is primarily grounded in traditional music of the Trøndelag region, particularly the area of Orkladal. However, he has also accumulated a large, varied folk music repertoire that reflects impulses from many parts of Norway and the rest of the world. He has composed a number of melodies and arranged traditional tunes for various types of ensembles. His dance tune called Dimmisjonspols (1996) has become part of the standard repertoire for young fiddlers today.

Eide has solid experience as a dance musician from Sturla Eide’s Kvintet and Strengefolket. He and fiddler Åsmund Svenkerud released the album Åsmund & Sturla in 1997. In 1999, the group Gorrlaus (now renamed Flukt) was established. In 2002, Eide collaborated with guitarist Andreas Aase in the duo sturla|andreas. Their first album Glimmer (2003) was nominated for a Spellemannpris [Norwegian Grammy]. Eide’s first solo album Murru (2007) followed by Triller (2010).

Sturla Eide has taught at the Orkdal community music school since 1994 and is now employed there as instructor and organizer of cultural events. In addition, he tours both alone and with other musicians.

In 2006, Eide was awarded a Norwegian artist scholarship consisting of a one-year work grant, and in 2009 he was appointed County Artist in South Trøndelag.

EM101 / 2012

The album called “Slåtter vol. 1” was released in September 2010, and now, with the release of “Slåtter vol. 2 and 3”, the “Slåtter” series is complete. At long last, Ragnvald Bolme’s core repertoire and Peter Wessel’s collection of springleik tunes have been recorded and documented for posterity.

Peder Wessel (1850-1906)

In the Music Collection of the Norwegian National Library, Oslo, there is a manuscript handwritten note collection (Ms.308/36) entitled “Norsk nationale Springdandse fra Throndhjems Stift, samlede og udsatte for Pianoforte Aar 1877” [Norwegian National Springdances from Trondheim District, collected and arranged for Pianoforte in the year 1877]. The collection, signed “Hr. Peder Wessel, Hevne pr. Throndhjem”, represents an important source for insight into the repertoire of rural fiddlers of the 1800s, in communities between Kristiansund and Trondheim.

Fiddler Elling Holstad (1772-1830) of Meldal was one of the main sources for the collection. Wessel’s manuscript contains 16 springleik [“springdance”/springdans/ polskdans/pols] tunes associated with Holstad. Elling, called also Ellein or Erling, was recorded in the 1801 census as Elling Jonsen Holstad, 29 years old, married and residing on the Holstad farm in Meldal, along with his father, “farmer and farm resident” Jon Ellingsen (b.1739) and his father’s wife Marit Arnsdatter (b.1748). Elling’s father married twice, but it is as yet unclear as to which of his wives was Elling’s mother.

Ragnvald Bolme (November 7, 1927 – January 27, 2000)

Ragnvald Bolme was born in Stangvik, Nordmøre in 1927. His father, shoemaker Ole Pedersson Bolme (1875-1952) was from Rindal, and his mother, Elen Edwardsdatter Fætten (b.1896), was from Tustna. When Ragnvald, the youngest son, was three years old, his parents bought the Holum farm located between Vollagranda and Storås in Meldal, and the family settled there. In 1957 Ragnvald took over the farm after his parents.

Sturla Eide (b. 1975)

Sturla Eide was born in Orkdal, Sør-Trøndelag, Norway in 1975. He began playing fiddle at a very early age. When he was about 6-7 years old he came in contact with the Ragnvald Bolme, at Holum in Meldal. In 1982, along with Ingeborg Berge, Sturla began taking music lessons with Bolme, something that was highly motivating for the young fiddler. When word got around that Bolme had two young fiddle students, they were often invited to play at local events. Eide attended his first major competition when he went up on stage and played two tunes for the district fiddle “kappleik” in Vågå in 1983.

Additionalbackgroundinformation,byBjørnAksdal, is included in the booklet accompanying the “Slåtter vol. 1” album.

In playing here, I have tried to interpret the springleik tunes with an open approach to tempo and style. The melodies vary in nature, and to attempt to perform all in the same style and at the same pace would detract from their individual character. The tunes range from cheerful, energetic melodies to melancholy ones that could almost have been performed rubato. Regarding playing technique, the springleiks range from easy tunes to more demanding ones that involve key signatures with several flats, combinations of major and minor and use of both 2nd and 3rd positions. There are many quick sections involving various intervals, presenting the opportunity for a variety of bowing alternatives. Peder Wessel included technical musical terms that can help us understand his perception of the music when he transcribed it for the piano. This also suggests that Wessel quite clearly perceived the musical variety within the collection.

Ragnvald Bolme’s tunes are definitely dance tunes, but here there is also variety in form and expression. The melodies are less complex than those of the springleiks, but Ragnvald Bolme was a Hardanger fiddle player who used double stops and ornamentation, giving tunes individual character and providing challenges for the fiddler. Subtle details and qualities, perhaps not obvious at first, definitely characterize his style, and are sadly too often omitted when the tunes are taught and passed on. These include frequent use of parallel octaves with vivid trills and his way of ending tunes with a double-stopped third.

My own playing style and musical experience naturally color the way the tunes are performed and I have in no way tried to restrain myself. Some of the tunes are played precisely as written, while others have acquired a good portion of myself.

Trygve Brøske (b. 1973) is a pianist, composer and music arranger of Trondheim. He studied at the Trondheim Conservatory of Music and the Conservatoire de Musique de Genève, where he graduated with “Premièr Prix de virtuosité” in 2001.

Trygve has an extensive background as a pianist and composer / arranger in multiple musical genres, and has been responsible musician for several theatrical productions, revues and cabarets. As a composer, his production is diverse. He was commissioned to create a piece for the Trondheim Chamber Music Festival, and has otherwise composed a great deal of music for choir, chamber ensembles and theater. He has performed solo concerts in Scandinavia and Switzerland, and also participated in chamber music festivals around European. In a folk music context, he has recently collaborated in the Unni Boksasp ensemble.

Thanks to Kjellrun Bolme for kind and generous hospitality at fiddle practices in her home over the years, and to Ella Kari Bolme Stenberg and Kjetil Bolme Stenberg for their help in consolidating the material after Rangvald. Thanks also to Anne Ingeborg Berg for friendship ever since 1982 when we started playing together, and more recently for helping me recall details about how the Bolme-tunes were played.

Recording, mixing, production: Sturla Eide Mastering: Tom Kalsrud
Cover design: Bernt Kulset
Photo: Bernt Kulset

EM09 / 2002

Tunes for the Fiddle and Hardanger Fiddle played in the Travellers Tradition Of Norway

Music has always played a central role in the cultural heritage of the travellers. Song, and particularly the old folk songs, are still important and for many travellers are an expression of their identity. The theme for this CD, however, is the extravert, professional and market-oriented music which, above all, is dance music. The public in this case have primarily been small countryside communities, and they have naturally “shaped” the music. This explains why the style and repertoire among travelling fiddlers has been almost identical to that of non-travelling fiddlers. It looks as if the travelling musicians have made a point of offering the “latest hits” to their public. This was a natural way to take advantage of the fact that they were constantly on the road and could capture new impulses in a different manner from those that were permanent residents. Peter Strømsing and Fant-Karl are perfect examples of this: they were, in their time, pioneers with respect to spreading the new, fashionable waltz to every corner of Norway.

EM103 / 2012

Iran er et land med flere nasjonaliteter, flere forskjellige språk og mange titalls ulike dialekter rundt omkring i landet.
Iran er et land med flere nasjoner, flere forskjellige språk og mange titalls ulikedialekter rundt omkring i landet.

Dette gjør Iran til et fargerikt land med mange muligheter. Iranske myndigheter har undertrykt dette de siste 100 år og har istedenfor mangfold ønsket likhet. Mange iranere er nå i fe rd å gjennopptage sin opprinnelse og Nezam Rajabzadeh vil vise sin Luriske opprinnelseog tradisjon for verden igjen. Luristan eller Lorestan en stor del av dagens Iran og lurerne utgjør 10 prosent av befolkningen i dagens Iran.

ENG:

Iran is an amalgamate of many nations, with many different languages and a great number of dialects.

In modern times – since the early 19-hundreds and onwards – the politics of the authorities was that of centralization to create a homogenous state.
These politics were fatal for millions of Iranians during the twentieth century. Many Iranians are now trying to rediscover their origin and with this CD, Nezam Rajabzadeh is a important voice to show the Lurian tradition to the world again.
Luristan / Lorestan a large part of today’s Iran and Lurians account for 10 percent of the population in Iran today.

This is a unique possibility given to the people of Lorestan, and we are happy to havebeen allowed to take part in process and to make the Luri culture visible around the world.

The release of this CD is the result of a co-operation with various institutions in Norway, and it is a contribution from the people of Norway to make the Luri culture known.

EM74 / 2013

Firil består av Margit Myhr frå Torpo, Olav Luksengård Mjelva frå Røros/Ål og Anders Hall og Adam Johansson frå henhaldsvis Arbrå og Umeå i Sverige. Ein tur til Kina i 2009 som “norsk” festivalbidrag sette i gang det heile, og etter det har me hatt denne plata som mål. Me har gjennom åra vorte klar over at det finns utruleg mange gamle “hits” i Hallingdal, og her blir det presentert eit utval av dei. “Firil” er eit dialektord som kan oversetjast til spor eller fotefar. Me håpar du vil like vårt avtrykk i Hallingdal si musikkhistorie!

Margit Myhr: Vokal og hardingfele
Olav Luksengård Mjelva: Hardingfele
Anders Hall: Bratsj og oktavfele
Adam Johansson: Gitar

ENG:

Firil is an ensemble consisting of 4 folk musicians: Margit Myhr, Torpo, and Olav Luksengård Mjelva, Røros / Ål (Norway); and Anders Hall, Arbrå, and Adam Johansson, Umea (Sweden).

Our collaboration began in 2009 when we represented Norway at a festival in China. Since then, we have had this album as a goal.

Over the years we have become aware of the incredible number of old “hits” in Hallingdal’s music tradition, and we present some of them here. “Firil” is Hallingdal dialect, and means tracks or footprints. We hope you will like our imprints in Hallingdal’s music history!

Margit Myhr: Vocals, Hardanger fiddle
Olav Luksengård Mjelva: Hardanger fiddle
Anders Hall: Viola and octave fiddle
Adam Johansson: Guitar

EM25 / 2005

TRADITIONAL FOLK SONGS AND NORWEGIAN LANGELEIK

BODIL HAUG: SONGS
OLE & KNUT AASTAD BRÅTEN:LANGELEIK, LYRA

Her songs sound best in a light and bright voice. For the last ten years they have been among the foremost langeleik-players.

BODIL HAUG was born on January 29th, 1970, in Aal, Hallingdal. Little by little she developed her own style of singing and musical expression. As she grew older she became especially fond of religious songs used by lay people. Also many of the concerts at the Folkmusic Festival at Aal were important for the further development of Bodil’s musical interests. Her songs sound best in a light and bright voice. Bodil is very talented, a generous and positive woman. She sings her songs with respect and humour, and her musical expression can be both flirting and challenging. She possesses an analytic mind and a sharp tongue, and has many young admirers. Folkmusicians and folk singers are just simply musicians of our time, Bodil says. What else could they be?

EM72 / 2019

Sanger og folkemusikkveteran Frode Nyvold er endelig ute med ny plate, som kan sees som en fortsettelse av «Skjemt og sjanti» (Grappa) fra 1998.

Med noen unntak er utgangspunktet også denne gangen folkelig visetradisjon på Agder. Kildematerialet er ofte henta fra arkivmateriale bevart ved Agder folkemusikkarkiv. Noe av materialet er samla inn ved egen innsats.

Visetekstene peker av og til på ei lokal forankring, men gir samtidig et inntrykk av at mange av disse visene har vært på reise. Noen er typiske skillingsviser. Vi finner innslag av utenlandsk påvirkning – her hører vi både dansk, svensk og ulike norske dialektformer i samme visa.

Tekstene kan stå som allmenne uttrykk for folkelig kultur, norsk eller utenlandsk.

Både tekst og melodimateriale er lite brukt i dag. Noen av kildene var sjøfolk og anleggsarbeidere og andre var spelemenn og underholdere. Både mannlige og kvinnelige tradisjonsbærere er representert.

Blant musikerne på «Soldater og redelig sjømenn» finner vi Nyvolds egen sanggruppe «Five Men in a Boat» bestående av franskmennene Didier Oliver og Emmanuel Pariselle, britiske Richard Burgess og norske Gabriel Fliflet. Fra folkemusikkmiljøet i Oslo er også Ånon Egeland og Leiv Solberg representert. De yngste på laget er felespillerne Sjur Nyvold og Hans Mikkel Melhus, steelgitarist Åsmund Solberg og den britiske gitaristen og sangeren Jon Doran.

ENG:
Singer and folk music veteran Frode Nyvold is finally out with a new album. «Soldater og redelig sjømenn» can be viewed as a follow up from his 1998 «Skjemt og sjanti» (Grappa).

The album mostly consist of songs from the local folk tradition in Agder, in the south of Norway. Most of the source material is obtained from preserves at the Agder folk archive and some of the material is collected by his own efforts.

Even though the songs are local they give an impression of having been traveling and influenced by foreign traditions and language – we hear both Danish, Swedish and different Norwegian dialects in the same song.

The lyrics can stand as general expressions of folk culture, Norwegian or foreign.

Its a collection of rare gems. Some came from sailors, construction workers and other musicians and entertainers. Both male and female traditional bearers are
represented.

Among the musicians on «Soldater og redelig sjømenn» there’s Nyvolds own singing group «Five Men in a Boat», with french Didier Oliver and Emmanuel Pariselle, brit Richard Burgess and native Gabriel Fliflet. From the Oslo folk music scene Ånon Egeland and Leiv Solberg is represented. Nyvold also brought in some up-and-comers, fiddlers Sjur Nyvold, Hans Mikkel Melhus, steel guitarist Åsmund Solberg (who also did the mix), and british singer and guitarist Jon Doran.

EM14 / 2003

LEADING HARDANGER FIDDLE GROUP IN NORWAY

Indre Sunnfjord Spelemanns- lag is rec- ognized as one of the leading hardanger fiddle groups in Norway. It participated for the first time at “Landskappleiken” in 1971, and ended up next to the last. Since then we have developed a lot, and won “Landskappleiken” 12 times and “Landsfestivalen for Gammaldansmusikk” twice. All the time we have had active par- ticipants at regional and local competitions, in divisions for ensembles, solo perform- ance and dancing. They also arrange festi- vals and competitions like “Landskappleiken” twice, “Landsfestivalen i Gammaldansmusikk” twice, and every year volunteers help arrange the Førde International Folk Music Festival. One of Sigmund Eikås’ main aims is to get hidden or forgotten local music into general use again. He has spent a lot of time in the regional folk music archive, searching for tunes to use in the ensemble. In this way he has brought forth a great number of tunes, for the pleasure of players, dancers and other lovers of traditional music. Some of the tunes on this recording have not been published on CD before. In addition to local music Indre Sunnfjord Spelemannslag plays tunes from other regions in Norway. This recording shows a selection of tunes which the ensemble is using now (2003).

EM16 / 2004

TRADITIONAL MUSIC FROM THE SOUTH OF NORWAY

Vidar Lande from Setesdal, is one of Norway’s foremost folk musicians today. Since he was a young man, he systematically collected folk music from his home area. He learnt to play the music, and since the early 1970s, he was an active folk music performer in the Scandinavian countries as well as in U.S.A. All the music on the present CDs is taken from recent recordings. Most of the music is little known, even in Setesdal, and has not been published before. Less than half of the recorded music is presented here.

In 2003 Vidar Lande became professor in traditional arts, the first one in Europe in this field. His working place is Telemark University College, Rauland. For the CD-project, he has also given an overview over the music history in Setesdal, – a whole book. He has also illustrated his exposition with pictures he collected through the years,- pictures of fiddlers, places and instruments that have been of importance for the musical devel- opment in Setesdal.

On the CDs, Gunhild Tømmerås is guest artist, singing folksongs and texts that are connected to some of the fiddle tunes. She grew up in Birkenes, South Norway, and learnt to sing songs in the Setesdal tradition from the famous folk singer, Torbjørg Aamli Paus. Being one of our formost folk singers today,- having won the National Competion in vocal folk music four times,- Gunhild masters the Setesdal style better than anybody else.

In the CD-book, Vidar Lande also presents historical facts as well as legends connected to the known Setesdal tune, “The Sordal’s Man”. Behind this term there is a bloody history that made a deep impact in the local culture in Setesdal. Several fiddle tunes are connected to the tragic fate of the Sordal’s Man. Vidar plays five different tunes called “The Sordal’s Man”, and Gunhild contributes with texts.

EM63 / 2010

Klezmer is a name for Jewish folk music that used to be played at weddings and fes- tive gatherings in Eastern Europe prior to World War II. Shira Etana plays traditional klezmer melodies. The ensemble’s mem- bers have varied musical backgrounds – classical, jazz and folk music. This influ- ences their arrangements and results in their unique sound and musical expression. Over the past few years, the ensemble has entertained many audiences with melan- cholic ballads and festive melodies. Jews have been part of the Norwegian popula- tion since the end of the 19th century and are now defined among Norway’s five offi- cial national minorities. Shira Etana’s founder and violinist, Leoni Abrahamsen Kohn, is a fourth-generation Norwegian Jew. On the basis of my knowledge of the klezmer genre, gained through work with Ethnic Music Club, I can say that the Shira Etana Ensemble maintains a very high ar- tistic standard and that their music is rela- tively traditional. In this genre, where it is easy to exaggerate in the short span be- tween expression of lingering melancholy and joyful ecstasy, Shira Etana manages a controlled, virtuoso reserve that is artistically effective, and rather a kind of “understatement” in the context of klezmer mainstream. Their minor melodies bear an atmosphere of sorrow and longing. The performers exude feminine skillfulness in the best sense of the word – a quality of sophisticated precision, as in intricate, colorful embroideries.

EM43 / 2011

Kjære dansere og gode lyttere,

Dette er en cd med slåttemusikk på hardingfele spilt for dans, både med og uten dansere til stede.

Dansespelet på hardingfele er for meg en dialog mellom spelemann og danser(e). Når alt stemmer kan dialogen være intens og elektrisk – en kjenner det med en gang den er der og følelsen er fengslende og absolutt noe å jakte etter! De beste dialogene har jeg hatt med de danserne jeg kjenner godt. Det er forutsigbarheten skapt av kjennskapen til hverandre som gir en overraskelser man kan ta kontroll over – mestringen gir en trygghet til å gi på enda mer og til å utfordre hverandre.

Med denne cd’en håper jeg å gi et innblikk i hvordan jeg tolker dansespelet på hardingfele. Jeg håper også at cd’en kan være et bidrag til lokaler som til tider mangler spelemann.

God fornøyelse!

Kenneth de Gala

1. Gulfakse

Aspringartune (3/4 )after Lars Fykerud (1860-1902), Telemark. Its name harks back to a horse with a golden mane. I began play- ing it with Toby Weinberg on a visit to the United States. Tony had it from Hauk Buen. Later, I went to Hauk and worked on the tune with him.

2. Tåkatind

A halling tune (2/4) by Johannes Dahle (1890-1980) of Tinn, Telemark. Johannes’ source of inspiration for the composition was a lively stallion named Tåkatind [Misted mountain peak]. I learned the tune from my teacher of many years, Anne Svånaug Blengsdalen (formerly Haugan), who studied fiddling with Johannes’ brother, Gunnar Dahle (1902-1988).

3. Slåtten hans Hellik

Master dancer Hellik Dokka (1930-2011) of Numedal greatly enjoyed dancing springar to this tune. One of my most memorable performance experiences was playing this tune for Hellik and his dance partner, Ingeborg Herigstad, when they won Class D at Landskappleiken [the Norwegian Traditional Music and Dance Competition] in Oppdal, 2008. An older name for the tune was Helge Tresk, after a woman with this name. Hauk renamed it as Hellik’s Tune in 2005, when Hellik received the King’s Medal of Merit in Gold for his work with folk dance.

4. Ola Rosemålar

A Numedal springar composed by Arne Olsen, dedicated to deco- rative painter Olav K. Bratås (1901-1964). I learned this excel- lent dance tune from Øystein Ellefsen (1918-2003). He had his own special twist on it. Magne Aasen, who dances with Ellen Krokstrand on this recording, has used it at many competitions.

5. Ramsen

I learned this springar tune from Hauk Buen, who in turn had it from Olav S. Løndal (1904-1986), Tuddal, Telemark. I play it often for dancing. Ramsen is a name used for it in Numedal. It is a variant of Treskreppa [The wooden satchel/rucksack], said to have been composed by famous Telemark fiddler Myllarguten (Torgeir Augundson, 1801-1872) on the way home from Kongsbergmarken [The Kongsberg winter fair] – inspired by a jingling sound from his companion’s wooden pack.

6. Spursmann

A gangar/ halling tune (6/8) as played in Numedal. The tune has many variants. My main source for this form is Øystein Ellefsen. One of my early recollections from fid- dle and dance competitions at Kongsbergmarken is of Øystein playing it for dancing. Hellik Dokka often re- quested this tune when he was going to dance gangar – “… and play it a bit ‘gvass’ [sharp/brisk]”, he would add. The name Spursmann refers to a kind of go-between in a tradi- tional courtship process: The asking man visited a girl’s family to ask her to marry his friend.

7. Va’ det ‘kje du som leika med Guro

Wasn’t it you who played with Guro is a light, playful 2/4- tune that I’ve learned from a recording of Knut Buen. Eivind Bakken from Jondalen is dancing halling on the recording. This is also a good tune to use for dancing Numedal gangar.

8. Trulseguten

The Truls-boy is a springar in the tradition from Hovin, Telemark, that I learned from Øystein Ellefsen. Øystein had the tune from Halvor Høyset (1903-1983). In Numedal it is known by several names: Gamle-Hans-Slåtten [The Old-Hans Tune] and Bekær-Anne.

9. Gjestebodsgubben

This Telemark springar, that I learned from Hauk Buen, is a tune that Myllarguten is said to have composed. It has a lilting rhythm, and its melodic phrases allow a fiddler to have fun accompanying dancers. Gjestebod refers to a fes- tive gathering, often a wedding. Gubbe is a colloquial term for an old man. It is told that Myllarguten played the tune over and over again at a wedding in Vinje.

10. Fossegrimen

A gangar, played here in two forms. Its name, Fossegrimen, re- calls the tricky musical spirit living in waterfalls. The first ver- sion is one that Bjarne Pålerud (1937-1991) taught to the Kongsberg spelemannslag [fiddlers’ club] and that I later learned from Anne. The second version is one that I learned from a record- ing of Øystein Romtveit. Eivind Bakken and Arnhild Brennesvik have danced to the tune at many competitions, including Landskappleiken when they won in 2007 and 2008. They are danc- ing on this recording.

11. Hellik Ruud og Jårån Surtelia

Two Numedal springar tunes in a row, after Arne Olsen and Leif Aasane, respectively. The first recalls fiddler and fiddle-maker Hellik Levordsen Ruud, (1849-1913), and the second is named for Jårån, a woman dancer and singer from Surtelia in Flesberg. I got the idea for this tune-combination is from Bård Vegard Bjørhusdal, one of my role models when it comes to playing for dancing.

12. Sylkjegulen og Fuglesangen

Two springar tunes, from the Krødsherad tradition after Truls Ørpen (1880-1958) that I often play for Numedal-dancers. Sylkjegulen is named after a silky-yellow horse and Fuglesangen means the bird song. I learned Sylkjegulen from Per Åsmund Omholt in Rauland, and Fuglesangen from Christian Borlaug.

13. Sevlen

Hauk is my primary source for this phenomenal halling tune. Its name recalls the notorious Sevle-guten, Ola Olsen Sevle (1808- 1834), from Nore in Numedal. In this recording, I play to Eivind Bakken’s dancing. Eivind received the King’s Trophy for his danc- ing to Sevlen at Landskappleiken in Geilo in 2007.

EM45 / 2008

Fire år etter forrige plate, etter mange konserter og lekent studioarbeid, kommer Flukt med Stille før stormen – deres tredje album i rekken. Flukt står for kreativitet i norsk folkemusikk. Her på deres tredje CD svever musikerne stadig videre på deres søken etter det ultimate uttrykk for kombinasjonen fele, trekkspill og trommer. De er virtuose musikere med evne til lekent, utforskende spill. Samtidig viser de dyp respekt for tradisjonen og overbeviser lytterne med sitt sikre grep om særtrekkene for genren. Innspillingen har trøkk nok til bilradioen, og musikken passer like bra til både konsert og fet. Sturla Eide (fele og hardingfele), Øivind Farmen (trekkspill) og Håvard Sterten (trommer), kombinerer droner og ornamentikk fra feletradisjonen med trekkspillets brede uttrykk og trommenes rytmiske driv. Platen kompletteres med dyktige musikere som Jon Krogstad (bass), Heidi Skjerve (sang), Frode Fjellheim (joik) og Andreas Aase (gitar), og det hele samles i lyd fra Roger Valstad, tidligere produsent til bl .a. DumDum Boys og The Monroes Flukt er et eksepsjonelt eksempel på en moderne norsk gruppe som spiller både folkemusikk og world music.

ENG
Flukt has gained a name for creativity in Norwegian folk music. Here, in their third CD, the musicians are still flying high in their striving for ultimate expression for the combo of fiddle, accordion and drums. They are virtuoso musicians with ability for childish, exploratory play. At the same time, they show deep respect for tradition and convince the listener that they have a secure hold on the characteristic qualities of their genre. The recording has enough blast for a car radio, while the music is appropriate for use at parties and concerts!
Sturla Eide (fiddle and Hardanger fiddle), Øivind Farmen (accordion) and Håvard Sterten (percussion) combine the drone and ornamentation of folk fiddling with the accordion’s wide range of expression and the rhythmic drive of the drums.
Flukt is an exceptional example of modern Norwegian group that plays both folk music and world music.

EM130

Singelen, Stillheten som svever, som kom ut i begynnelsen av mai kan du høre på alle strømmetjenester. Takk, til Etnisk Musikklubb som ville gi den ut. Fint at sangen er forankret her i Kongsberg. Arild Jensen har laget et nydelig arrangement, og Kjersti Rydsaa spiller nydelig på cello!

EM12 / 2003

Two young emigrants – With solid musical tradition from their countries of origin, Iran and India – Meet in Oslo

Jai Shankar – Tabla – India/ Norway
Pouyan Abdoli – TarTombak – Iran/Norway

This CD features Pouyan on the tar andtombak together with Jai Shankar on the Indian tabla. What you hear is improvisation inspired by Persian Sufi music and coloured by Indian rhythms interpreted in the artists’ personal style. This is neither pure traditional Persian music nor pure classical Indian music, but a fusion created by two young immigrants meeting in Norway. It is both immigrant music from Norway and world music. Pouyan Abdoli was born in Teheran in 1980. He comes from a family of singers familiar throughout Iran. Pouyan came to Norway when he was 18. Jai Shankar was born in Punjab in India in 1980. He comes from a musical family with strong roots in classical Indian music. Jai came to Norway when he was just ten months old. Both Indian and Persian classical music are characterised by their microtonal and monophonic structure and by the importance assigned to improvisation. In each of these traditions, the musician’s understanding and approach to the music is key. Personal style, technical ability and vision impacts on his approach to developing musical ideas. This makes every performance, even of the same Raga or Dastgah, exciting, fresh and unpredictable each time it is performed.

EM32 / 2007

Her kjem fyrste soloplata med den unge kvedaren Kim Andrè Rysstad (f. 1981) frå Rysstad i Setesdal. I den veksande skogen av yngre dyktige utøvarar av vokal folkemusikk i Norge, er han ein av dei som på kort tid har etablert seg som ein mykje respektert utøvar med solid musikalsk integritet. Kim Andrè har hatt songen i seg sidan han var liten gut, og kom tidleg i kontakt med folkemusikken. I Agder Folkemusikkarkiv høyrde han på gamle vokalopptak dag ut og dag inn, og i staden for å ta skrekken, gav dette meirsmak. Han vart svært teken av dette materialet og valde å setje hovudfokus på dette uttrykket i si vidare musikkarriere. Til stor lukke for folkemusikkmiljøet! Med sin sterke musikalitet og stilkjensle har han raskt tileigna seg dei element som kjenneteiknar den tradisjonelle folkesongen som oftast vert kalla kveding. Kim Andrè har sitt eige personlege uttrykk. Songen hans er roleg og takande, det me i spelemannsterminologien kallar dåmrik. Kim Andrè har mykje av denne takande roen, det meditative i songen sin. Han fær lydarane til å roe seg, og å verte med på hans reise inn i det songane fortel om. Men om han vil, han kan også smelle til med «kraft-stevjinga» som var uttrykket til enkelte av dei eldre storkvedarane i Setesdal (høyr kutt 5).

ENG
This is the first solo album from the young folk singer Kim André Rysstad (b. 1981) from Rysstad in Setesdal. In the growing forest of younger, competent performers of vocal folk music in Norway, he is one of those who, in a short period of time, has established himself as a highly respected performer, with solid musical integrity.

Kim André comes from a particularly gifted family in Setesdal, which has produced several well-known culture personalities, e.g. within the art of poetry. On track no. 6 we hear the stev (Norwegian folk verse) ”Der e so vent å vesteheio”, which is written by his great-grandfather Jon Bjørgulvsson Rysstad (1877– 1966), one of the most respected stev writers in Setesdal. Kim André has had the song within him ever since he was a little boy, and he was early introduced to folk music. But it was a different type of song he first got devoted to and chose to concentrate about. That was pop ballads (Whitney Houston has been a great source of inspiration), musical repertoire and classical song. After upper secondary school, he took a break from studying, and was hired at Agder folk music archive. He listened to old vocal recordings day after day, and instead of getting tired of this, he wanted more. Kim André became very fascinated by this material, and chose to emphasize this expression in his coming music career. What a fortune for the folk music environment! Of additional education, he has among other things attended the Folk Music study in Rauland, and is currently attending the Bachelor study at Ole Bull Akademiet in Voss. With his strong musicality and feeling for style, he has quickly picked up the elements that characterize the traditional folk song which is generally called “kveding”. With teachers like Kirsten Bråten Berg, Ånon Egeland and Ragnhild Furholt, among others, he has perfected himself in the song style from Setesdal/Agder. But he has also been a student of several other leading established folk singers from other parts of the country. Kim André has his own personal expression. His singing is calm and moving, in the folk music terminology we call it “dåmrik”. I remember a programme on NRK, where Lillebjørn Nilsen said about his musical expression: ”It is not the sledge hammer that is my weapon.” This is also a good description for Kim André. It is written about the old great folk singer Svein Hovden (1841–1924), that he, without the big gestures, could sing people into a sort of trance, and everything became quiet and some started crying. Kim André has much of this moving peace, the meditative in his singing. He calms his listeners, and makes them join him on his journey through the stories in his songs. But if he wants to, he can also come through with ”kraft- stevjinga” (powerful singing), which was the expression used by some of the elderly great folk singers in Setesdal (listen to track 8). In the ballad ”Dei frearlause menn” (track 3) it says; ”Dei makta kji brjote dei frosne band..” (“They could not break the frozen bonds..”). After listening through this album, I assume that Kim André has managed to break whatever the listener must have had of frozen bonds.

EM118 / 2017

EM98 / 2011

The Nordic Fiddlers Bloc are Olav Luksengård Mjelva from Norway, Anders Hall from Sweden and Kevin Henderson from Shetland.

Norway, Sweden and Shetland have three of the richest fiddle traditions in the world, with documented historical links going back hundreds of years. The Nordic Fiddlers Bloc are now seeking to bring those historical links and traditions alive and present them in an exciting new fashion, while also remaining faithful to the roots of each tradition.

While blending the individual styles together they nevertheless allow each distinctive flavour to unfold into a combined sound that’s unique, meaningful, intense and invigorating.

EM39 / 2008

AMIR SAION (Iraq)
Amir was born in Baghdad. He started playing the Darbuka when he was 12 years old and the Oud from the age of 15. Amir has been a professional musician since the age of 17. He is educated at the academy of music in Baghdad. In 2000 he moved to Norway. Tigris Nights is his second album with Hassan. On his first album, Naheddi, he played with Hassan and Adama Barry from Africa. Hassan has met Amir by a coincidence in his hairdresserin 2003 and then they started to play together. On the albumTigris Nights he plays the Oud, Darbuka and sings in Arabic.

HASSAN ALBADRI (Iraq)
Hassan is 27 years old. He was born in Basrah where he started playing theOud when he was 18 years old. Hassan is not just playing music, he is alsomaking music and writing lyrics. He was a member of the poem associationin Basrah. Studied theater in Basrah university in 1999–2000. In 2001 hehad to leave his country, and the destination was Norway. Here in Norwayhe joined the music band «Naheddi» in Bergen in 2005, and Naheddi washis first album. He left the group in 2006, and now he is playing in another band called «Gilgamesh». On the albumTigris Nights he plays the Oud and sings in Arabic. He has made some of the songs in the album.

ØIVIND STØMER (Norway)
Øivind is educated from the music conservatory in Kristiansand and has lived as a freelance musician and instrument teacher for 8 years. He has performed with Oscar Peterson-guitarist Ulf Wakenius in Tokyo and Copenhagen, playing with Inger Marie Gundersen band which has toured Poland, Japan, Denmark, South Korea and released two CDs. He has also worked with famous folkmusic singer Kirsten Bråten Berg on CD and on stage several times. He is member of «Funktioneers», a cinematic funk fusion band from Bergen.

EM41 / 2009

Hilde Kirkebøen er en utøver på hardingfele som i dag mestrer dansepellet fra Ål i Hallingdal på en glimrende måte. Kjennetegnet er suggererende dynamisk dansepell med rytmisk snert og glød i framføringen. Hun klarer å få godt fram det særegne suget i det lokale dansespellet som gjør at dansere elsker henne. Hun vokste opp i Ål i Hallingdal og er arvtaker etter sin store læremester Jens Myro og er også en fremragende danser selv, noe som nok bidrar til det fine spellet. Hilde har også lært mye av andre gode spellemenn, slik som Øyvind Brabant, Egil Syversbråten og Magne Myhren, men har stadig utvikla spelet sitt og er nå ei spelkvinne som er særlig ettertrakta til dansespel rundt omkring og er en ypperlig representant for spillet i Hallingdal. Noen av slåttene har aldri tidligere vært spilt inn på CD og albumet dokumenter på en strålende måte en utøvertradisjon av en relativ ung moderne spelekvinne av i dag. Hilde kom til Oslo i 1994, og har betydd svært mye for Hallinglaget og hallingkulturen i hovedstaden og har vært den faste spelekvinnen til Hallinglaget siden hun kom til byen

ENG
Hilde Kirkebøen is a Hardanger fiddler who masters the traditional dance music of Ål, in the valley of Hallingdal, Norway. Her playing is dynamic and hypnotic, and much loved by dancers who seek traditional Hallingdal music, with its characteristic rhythm and energy. Hilde grew up in the rural community of Ål and learned fiddling from Jens Myro. She is an excellent dancer, something that inevitably contributes to her fine music. Other contemporary fiddlers of the region, such as Øyvind Brabant, Egil Syversbråten and Magne Myhren, have naturally influenced her playing to some extent. However, Hilde definitely has her own style; she is in demand as a dan ce musician and is an excellent representative for the Hallingal fiddle tradition. This album provides excellent documentation of a relatively young, good, traditional Hardanger fiddler in Norway today. Several of the tunes played here have never before been available on CD. Hilde has lived in Oslo since 1994 and has meant a lot to other city-dwellers from Hallingdal, providing music for dances and gatherings.

EM97 / 2012

Tritulen spelar tradisjonsmusikk frå den norske og svenske vestlandskysten – melodiar frå kvardagen – salmar, kjærleiksviser og danseslåttar. Med felles forståing og kjærleik til musikken framfører dei inderleg og overtydande dei tidlause melodiar og ord.

Ebba Jacobsson: Song
Jonas Åkerlund: Feler, gitarar og song
Anette Thorsheim:Toradar og song

ENG:

Tritulen plays traditional music from the west coast of Norway and Swe- den – melodies from everyday life – spiritual songs, love songs and dance tunes. With a mutual understanding and love for their music, they perform the timeless melodies and lyrics inti- mately and compellingly.

1 Hvor det blir godt. 2.35

etter Ola R. Midtbø, Masfjorden.

2 Eg ønskjer deg min ven. 3.55

etter Ola R. Midtbø, Masfjorden.

3 Henrik Mjåtveit. 3.41

Springar av Henrik Mjåtveit, Meland.

4 Vals etter Karl Øvretveit. 2.08
5 Herr Peder. 4.50
Frå sjømannen Viktor Nilssons visebok.
6 Neimen om eg ville. 2.47
Reinlender etter Karl Øvretveit, Lindås.
7 Adam & Eva. 3.23
etter Ola R. Midtbø, Masfjorden.
8 I dag kommer budskap. 3.29
etter Ola R. Midtbø, Masfjorden.
9 Handlarns vals. 3.29
av Jonas Åkerlund.
10 Rudl etter Øvretveit. 2.17
Rudl etter Karl Øvretveit, Lindås.
11 Gå nu hen. 4.11
Gå nu hen og grav min grav
etter Ola R. Midtbø, Masfjorden.
12 Villanger. 2.36
Reinlender etter Andreas Vil- langer, Radøy.
13 Hamborgarar etter Midtbø. 2.54Hamborgarar etter Ola R. Midtbø, Masfjorden.14 Jag gick mig ut. 2.37
etter August Andersson frå Svarteborg i Bohuslän.

EM36 / 2007

For første gang noensinne er det utgitt et album med trommeslåtter og annen norsk folkemusikk på slåttetromme. Hovedartist og ildsjel bak utgivelsen er tamburenRolf K. Seldal. Han spiller foruten slåttetromme, både lur, bukkehorn, signalhorn, munnharpe og langeleik på albumet. I tillegg har han med seg Lajla Renate Buer Storli på hardingfele og Laila Kolve på sjøfløyte og seljefløyte. Dette gir variasjon i lydbildet og der slåttetromme også gir underlag for både pols, springar, lokk, reinlender, bruremarsj. Innimellom får vi solo slåttetromme som spiller de tradisjonelle tromme- -slåttene der Johannes Sundvor, som samla, nedtegna og gjorde opptak for snart hundre år siden, er sentral kilde og Eirik Sundvor (Johannes Sundvor sitt barnebarn) er læremesteren til Rolf K. Seldal. Han er ellers utdanna slagverker, musikkpedagog og folkemusikkviter fra Griegakademiet og har jobba som musiker innen jazz, folkemusikk og klassisk musikk. I dag er han rektor ved Kvam kulturskole i Hardanger.

ENG
ROLF K. SELDAL: Slåttetromme, lur, bukkehorn, signalhorn, munnharpe, langeleik,

LAILA KOLVE: Sjøflyøte, seljefløyte,

LAJLA RENATE BUER STORLI: Hardingfele

Rolf Kristoffer Seldal (b. 1968) is a pecussionist from Bergen, Norway. Rolf received his formal education at the Grieg Academy at the University of Bergen with degrees in percussion performance, education and ethnomusicology. As a musician of different styles, Rolf Seldal performs regularly classical, jazz and folk music. In addition he is widely respected as a teacher having taught at various levels within the Norwegian music school system. Since 2004 Rolf has been administrative leader and Principal of a Music and Arts School serving more than 800 students in Hordaland, Norway. In 1991 Rolf came in contact with Eirik Sundvor, the most highly regarded Norwegian folk drummer, who became Rolf’s mentor and teacher. In 2004 Rolf released the book: “Hvordan lære trdisjonelle trommeslåtter” (How to learn traditional folk drumming) published by Musikk-husets Forlag.

The traditional Norwegian folk drumming is over 500 years old. Its origins as a folk instrument began in the military and later used in weddings and other ceremonial events. The drummers copied the traditional rhythms of dance, by utilizing trained techniques found in their military signals. The main musical idea is to produce a drone (tremolo) under the main rhythmic theme. This technique is also found in other Norwegian folk instruments such as the Hardanger fiddle, the mouth harp, and the langelei,k which is a dulcimer or zither type instrument. Traditional Norwegian drumming was common in wedding ceremonies particularly in western Norway up to the 19th century. Johannes Sundvor collected 88 different folk tunes from various wedding drummers up to the beginning of the 20th century. His grandson Eirik Sundvor (born in 1938) is one of the two remaining folk drummers who have kept the tradition alive today.

EM92 / 2012

Ragnar Haugstøl er en særegen kveder, som ikke ligner på noen andre. Han har et kraftig vokalt “fingeravtrykk” både i syngestil, tonefarger. En del viser som er spilt inn her – er han alene om å bruke. Han har også stor spennvidde på stemmen fra det vare til det kraftige og en god formidlingsevne som griper lytterne. Ragnar gikk på kurs hos Bjarne Øverbø sammen med Olav Haugen, men har også samla viser og visetoner rundt på Seljordshei. Ragnar Haugstøl har stort sett vært utenfor det organiserte folkemusikkmiljøet, men vant nå likevel 5 år på rad på Jørn Hilmestevnet på 1980- tallet.

På albumet har han tonefølge på noen spor av Ragnhild Knutsen, bratsj og hardingfele og Sara Fjågesund Aase, hardingfele. Ragnhild Kuntsen sier følgende: “Det er noen år siden nå at jeg begynte å spille bratsj eller hardingfele inntil noen av Ragnar sine viser. Ragnar og jeg har opptrådt sammen ved flere anledninger de siste årene. Her er så mye flott stoff, og det er morsomt å lage en instrumental stemme til viser som tradisjonelt oftest blir framført solo. Av og til lar jeg instrumentet følge melodien, andre ganger legger jeg noen basstoner eller lager en andrestemme. I noen tilfelle får jeg inspirasjon fra ord eller stemninger i teksten, og prøver å illustrere dette instrumentalt. Målet er å støtte opp om uttrykket i visa, men jeg søker også mot å komme i dialog med solovokalen. Slik blir totalinntrykket et annet enn ved soloframføring av visene.

EM107 / 2013

Poesi og energi i melodiøs hyllest til valsen og tretakten. Gabriel Fliflet lager sangbar musikk med tydelig særpreg. I løpet av et langt musikerliv har han badet i mange folkemusikalske kulper. Nå vil han hylle valsen, og på Valseria møter du valser som flyter, hvirvler eller tenker seg om. Med dufter fra Vestlandet, Balkan, Paris og Nordsjøen. Med tekster av Kjartan Fløgstad, Einar Økland og Gabriel Fliflet, om utferd og eventyr og sommerøyeblikk og de døde i kirkegårdens mold.

Valseria ble laget som et bestillingsverk til Vossajazz2013.Siden Valseland er et vennlig land, er også melodier i andre taktarter invitert med; vakre bruremarsjer og vuggesanger ved siden av drivende latino-, swing string og balkanrytmer. Gabriel ble kåret til Årets folkemusiker i 2012. Han er mest kjent som trekkspiller, bl.a. fra duoen Fliflet/Hamre. På denne platen spiller han også piano og synger. Med på laget er prisbelønte Jorun Marie Kvernberg – feler, harpeleik og sang, Jørgen Sandvik – gitar, mandolin og sang, og Kristoffer Chelsom Vogt – kontrabass og sang.

Gabriel Fliflets to soloplater før denne – Rio Aga (NORCD 0875) og Åresong (NORCD 1102) – inneholdt også musikk komponert av Gabriel Fliflet selv, og fikk begge strålende pressekritikker. Gabriel Fliflet med band skal turnere med Valseria over store deler av Norge.

ENG:

The Musicians
Gabriel Fliflet: accordion, piano, toy piano, vocals
Jørgen Sandvik: guitar, mandolin, vocals
Jorun Marie Kvernberg: fiddle, hardanger fiddle, baritone fiddle, zither
Kristoffer Chelsom Vogt: double bass, vocals

Gabriel Fliflet is a colourful musician who has bathed in many different musical pools. For many he is associated with his cooperation with drummer and multi-musician Ole Hamre in the enigmatic duo Fliflet/Hamre. In 2011 Fliflet was named Norway’s Folk Musician of the Year and he has been leader of Bergen’s vibrant folk club Columbi Egg since 1999. Valseria is Gabriel Fliflet’s fourth commission, his previous ones being Elvemot (The Osa Festival, 2006), Edvards lykkelige dag (Edvard Grieg Museum Troldhaugen, 2008) and Åresong (Bergen International Festival, 2010).

Jorun Marie Kvernberg is one of Norway’s leading folk musicians and the winner of numerous awards. Many know her best from the groups Majorstuen and Tindra. Jørgen Sandvik is central in the award-winning pop group Real Ones and is also a permanent member of Sigrid Moldestad band. He plays ethnic popular music from the Baltic with Gabriel in the quartet Novgorod, where Kristoffer Chelsom Vogt is a member too. Kristoffer also joined Gabriel in Åresong, a project featuring lyrics by Norwegian dramatist and poet Jon Fosse and music by Fliflet.

The album:

The music is composed by Gabriel Fliflet, but arranged in cooperation with the musicians.
The album was recorded live at three concert venues, both with and without an
audience present: At the premiere performance at Vossajazz festival, Voss old cinema (22.3.2013), Riksscenen in Oslo (4.5.2013) and Sardinen USF in Bergen (26.5.2013).

Lyrics: Kjartan Fløgstad, Gabriel Fliflet and Einar Økland
Recording engineer: Tom Karlsrud
Mixing: Daniel Birkeland, Havnelageret studio, Bergen, Norway
Producer: Gabriel Fliflet Mastering: Thor Legvold, Sonovo
Spontan doina is by Georg Reiss
Lanterne was recorded by Daniel Birkeland at Havnelageret studio 29.8.2013
Ida, Lanterne and Spontan doina are solo pieces and thus not arranged in cooperation with the musicians.
English text: Richard Burgess
Design: Bernt Kulseth, Selbutrykk
Portrait photo: Hans Jørgen Brun
The recording was financially supported by Bergen City Council and Fond for Utøvende Kunstnere.
Gabriel Fliflet wishes to especially thank the following for advice:
Leiv Solberg and Kato Ådland (music), Jørgen Sandvik (mixing), Lars Bremnes, Richard Burgess and Sigrid Kvarekvål (lyrics).

EM53 / 2008

Oppdal er både geografisk og musikalsk sett et veiskille. Bygda grenser mot tre fylker, og dermed også minst tre ulike folkemusikktradisjoner. I gammel tid førte dette også til at bygdas musikktradisjon ble påvirket av spelemenn på gjennomreise. Vi vet for eksempel med sikkerhet at spelemenn som Fant-Karl gjestet noen av bygdas spelemenn, slik som Ola Nerlo. Dette kan man i dag høre igjen i slåttemusikken, og spesielt sprenglek – Det finnes klare innslag av både pols og Gudbrandsdalsspringleik. Likevel synes jeg slåttemusikken i Oppdal har sitt klare særpreg. Sprengleken karakteriseres av et raskt tempo, og med mye trioler. Takten er også tilnærmet symmetrisk, dvs jevn, noe som skiller seg fra pols og Gudbrandsdalsspringleik. På denne plata har jeg prøvd å beholde det lokale preget samtidig som jeg har tillagt musikken noe av mitt eget, og som reflekterer min egen musikalske bakgrunn. Som spelemann har jeg opptrådt i mange settinger i både inn- og utland. Høydepunktet i min solokarriere kom på Landskappleiken på Voss i 2010, da jeg vant klasse A i vanlig fele. Fra tidligere har jeg også flere topplasseringer i denne klassen.Jeg håper du som lytter vil finne «Veiskille» interessant å lytte til. I tillegg til soloslåttene har jeg vært så heldig å få med meg to svært flinke gjestemusikere som jeg tror vil bidra ytterligere til en spennende lytteopplevelse. – Andras

ENG
Oppdal consists of a VEISKILLE [CROSS- ROADS] in both a geographical and a musical sense. The community borders on three admin- istrative districts and at least three regions with distinct folk music traditions. In the days of the horse and cart, Oppdal fiddlers were influenced by musicians who came through the area. We know that “Fant-Karl” and other Gypsy/Traveler fiddlers spent time here and played with local fid- dlers, such as Ola Nerlo. Oppdal as an intersec- tion is clearly reflected in its traditional reper- toire, especially the older “sprenglek” tunes. These tunes are similar to some called “pols” in neighboring districts to the north, east and west, and “springleik” in Gudbrandsdalen to the south. Yet in spite of similarities, fiddle tunes of Oppdal have their own unique style and character. “Sprenglek” tunes are in triple meter. They are characteristically played in a quick tempo and contain many triplets. Beats within the measure tend to be even. I have attempted on this CD to retain the local ‘dialect’ in my performance. Of course, my own personal tendencies and musi- cal background come to play in the interpretations.

Like many other fiddlers, I found my way into folk music through my family. My father, uncle and two cousins play fiddle. I received my first formal instruction at the Oppdal community mu- sic school. My teachers there were two experi- enced local fiddlers, Jan Kåre Bjørkås and Erik Sverre Viken. I also learned much from Tore Viken, a traditional Oppdal accordionist, with whom I have played a great deal. After my 9th year of school I chose to continue studies with a focus on folk music at the high school in Vinstra, Gudbrandsdalen. Here, my musical horizons were broadened enor- mously, especially due to such teachers as Tom Willy Rustad, Vegar Vårdal and Per Sæmund Bjørkum, who are all top-class Norwegian folk musicians. After Vinstra, I began in Oslo at The Norwegian Academy of Music, and continued under the instruction of Per Sæmund Bjørkum. Following this, I studied classical violin with Terje Moe Hansen, and took an additional year of advanced music education at the same institution.

I have performed as a fiddler on many different scenes and occasions, both in Norway and internationally. As a member of the folk music group Nordafjells, I have participated in many of the best-known Norwegian folk festivals. Nordafjells was selected by NRK [Norwe- gian Broadcasting Company] to represent Norway at the Eurofolk festival in Moscow, 2008. Nordafjells has also won numerous prizes and honors at Norwegian competitions over the past 10 years. (http:// www.myspace.com/nordafjells)The high point of my solo career came at the National Folk Music Competition [Landkappleiken] in Voss, 2010, when, after many years of participation and ranking well as a solo fiddler, I won first prize in Class-A!

Although this CD is primarily a solo presentation, I am pleased to have two excellent guest musicians with me on several tunes. I hope you will find VEISKILLE an interesting listening experience!AndreasThanks to Mom, Dad, Erlend Viken, Olav Christer Rossebø, Sjur Viken, Reidar Skjelkvåle and Arne Fredriksen.

EM94 / 2012

About the project
When I lucked out and got a chance to make a CD, I was not really sure how to begin. Recording an album had never been my big dream, and I have felt that one ought to have something new to contribute when embarking upon such a project. And I am not sure that I do. There has been inflation in folk music releases in the last few years, and expectations are high. But in spite of these quandaries, I have decided to take the dive. On one hand, I can present some repertoire that has not been previously recorded, and on the other, it will solve the problem of Christmas and birthday presents for relatives and friends for a long time to come.

Many thanks to Etnisk Musikklubb for the opportunity to make this CD. And special thanks to Arne Fredriksen.

About the fiddler
I was born in 1965 in Jåstad, in the Hardanger region of western Norway. Since 1993 I have been living in Ål, in the Hallingdal valley. I began playing Hardanger fiddle at the community music school in Ullensvang in 1977. My first, and excellent, teacher was Are Fløysand. Eventually I went to Lars Velure (1901- 1992) for instruction, and it was there that I learned much of the traditional old-time dance music of Hardanger. I have also met and played with many fiddlers from Hardanger and elsewhere, and through this found inspiration, learned tunes and discovered motifs and phrasings that I liked. I have been instructor at the Ål Culture School and at various workshops and seminars. Since the 1980s I have participated at kappleiks [contests] and other gatherings for traditional music and dance. I have also played regularly for various dance groups, and through this had the opportunity to present Hardanger fiddle outside of Norway. My father, Sjur Velure (1923-1986) played accordion. He was of the old school and, rather than playing melody, he accompanied the fiddle with rhythmic bass and chording. We played a great deal together, which was good practice for me. Some of my first playing gigs were with him. I remember that I went with him and fiddler Lars Vikane to play for a community dance on the 17th of May in about 1980, just after I had begun fiddling. Many years’ playing for dancing with the group “Farande Fant” was also good practice. Fiddle has been primarily a hobby for me. By education and profession I am a civil engineer – not a musician!

The fiddles
I use two Hardanger fiddles on the recording, one built by Håvard Kvanndal (1981), and the other by Styrk Pukerud (1923). Both fiddles have been overhauled by Arne Jordan. He and Harald Kvanndal have provided fine adjustment and made small repairs.

EM21 / 2007

For første gang noensinne presenteres Romani- sanger fra Finland, Norge og Sverige på et og samme album. Det blir sunget på vertslandenes språk, men i tillegg er det også med eksempler på romanisanger fra alle tre land. Det er genrespredning fra gamle tradisjonelle viser med gammel syngestil, til nyere sanger i danse- bandstil og moderne romanirapp.Alle sangene her går i moll, noe som er et sentralt særtrekk ved Romanifolkets viser i Norden. Sangene reflekterer ofte romanifolkets historie med utstøtthet og forfølgelse. Men mer vanlige temaer som ensomhet, fortapt kjærlighet og «hjerte og smerte» har også en sentral plass i mange av sangene. Formålet med albumet er først og fremst å doku- mentere sanger og musikk av Romani- folket i Norden, med hovedvekt på de gamle (eldste) tradisjonelle sangene. Det er lagt spesiell vekt på å dokumentere typiske trekk ved sangstil og tonalitet, samt på å vise variasjonsbredden blant utøvere både i uttrykk og syngemåte. Det har særlig vært viktig å finne sanger som synges på romanispråket eller som har mange romaniord i seg. Formålet har også vært å dokumentere at det finnes en sterk og levende sangtradisjon blant Romanifolket i Norden. En slik nordisk dokumentasjon på dette området har så vidt meg bekjent, aldri tidligere blitt foretatt.

ENG
FOR THE FIRST TIME EVER, ROMANY SONGS FROM FINLAND, NORWAY AND SWEDEN ARE PRESENTED ON ONE AND THE SAME ALBUM. The texts are partly written in the native languages, but also in Romany language, as it appears in these three countries. Types og songs vary from traditional folk songs in the old style, to new dance-songs and modern “Romany-rapp”. All melodies are in a minor key, a typical trait with all Romany songs from Nordic countries. Texts and melodies reflect the unhappy history of the Romany people: being homeless and persecuted, taking also up fundamental human themes, like loneliness and unhappy love. Sometimes the presentations appear in a rather sentimental mood.The main intention of the CD is primarily to give a documentation of songs and music of the Romany people in the Nordic countries. Songs in the old style and tonality are given priority. Singers of all ages are chosen, as well as songs that can show the differences in style from country to country. Songs with many Romany words and in pure Romany language have been chosen in order to make clear that there still is a strong song tradition among Romany people in the Nordic countries. As far as I know, nobody has ever before attempted to give such a documentation. It must be admitted that it has been a great challenge to complete this project! Sometimes a minor mood has ridden the producer, but the problems never managed to overshadow the joy and enthusiasm at bottom. Also purely technical problems, like patching recordings together, have been a great challenge, since recordings were made live in different rooms with very different acoustics. Thus, the present CD product certainly contains “field recordings”. But given the underlying intention, this should not count as a disadvantage.

EM11 / 2002

SONGS OF THE ROMANY PEOPLE OF NORWAY

Documentary Field Recordings 2002
Rare Autentic Field Recordings made In Norway 2002

Romany people have lived in Norway for at least five hundred years. The songs on the CD are sung in Norwegian.One of the goals of this album is to illustrate the rich, and very much alive, song traditions that still thrive among the travellers in Norway. This is valuable folk material both for the Romany people themselves and also as a part of Norway’s cultural diversity. Many travellers can sing these folk songs, and are good singers and able to master the distinctive singing style which characterises the Romany people of Norway. Sometimes, they are local songs that are known in other branches of Norwegian folk music, but often with a different melody, text variation or “colouring”. There was far too much material for one CD: We therefore call the first album “Vol. I”, a name which implies a promise of more to come. The album portrays a wide selection of musicians with differing interpretations, voices and ages. I think this breadth gives a wonderful variation. Most are amateurs who do not count themselves as artistes in the normal sense of the word, and who also are quite difficult to get hold of, due to the fact that they are travelling around. This is why wetoo decided to travel around and make a documentary CD.

EM05 / 2001

Javid Afsari Rad – Santor
Abdulrahman Surizehi – Benju and Soroud
Jamil Ahmad Magsi – Doholak and Tabla
Ghulam Muhammad – Tanburag
Majid Hesabi – Tombak

The group Karvan plays music that is a meeting with the Persian and the Baluchi regions. To of the five musicians comes from the cultural city Esfahan in Iran, two are from Baluchistan which include South- East Iran, South Afghanistan of South- Vest of Pakistan and on from Karachi in Pakistan. Abdulrahman Surizehi is considered a world-leading virtuoso on Benju. Sufi trance music from Baluchistan is their main expression but with a strong mixture with Persian classical music on Santour. Accompanied by percussion instruments like Tombak, Doholak, Tanburag and Tabla.

EM13 / 2003

WESTERN CLARINETS, A KURDISH DIVAN AND A PERSIAN TONBAK

Mohammad Reza Ebrahimi – Divan
Pedram Khaverzamini – Tombak
Kjetil Selvik – Clarinet, Bass- Clarinet

The combination of a western clarinet, a Kurdish divan and a Persian tonbak is not often heard. But when we first brought these instruments together, in the year 2000, it gave an intuitive feeling of pleasure. Despite the different backgrounds of the players, there seemed to be spirit in the music. The fascinating thing about Persiano is we still do not know whether its expression was created, or simplydiscovered.

Persiano was founded in Teheran, where its gave its first concerts in the summer of 2001. The Iranian influences on the rhythms and tunes are very clear, but you will also find inspiration from traditional Norwegian music and jazz. This being said, our focus was never on the style. The melodies and improvisations are played the way we felt them. The idea was to engage in a real exchange, and to make it sound natural.