Listen to #2 2009

Womex: The Great Nordic Night Johan Sara Jr. Unni Løvlid

Showcase Scotland: Spotlight on Norway shoulders of giants Standing on the Martin Revheim. Photo NRK

Contemporary Norwegian folk music is alive and kicking. Today’s performers stand on the shoulders of giants as they launch them- selves into a daredevil free-fall.

With a heartfelt respect for traditions, they bring with them their own stories into the music; today’s beats are welded with the past; MTV meets the traditional ‘bunad’ costume, age-old story-telling traditions meet Twitter. Stories are rediscovered, re-told, expanded and adapted, but what it really boils down to is that close encounter; the direct, non-proc- essed and pure sound from the timbre-rich instruments delivered to the audience via the hands of the performer. It’s still a matter of travelling - a journey with your own story where the focus is on passing on the traditions.

The basis of these stories is local, even hyper-local. But local turns into global as we live the same stories and deal with the same is- sues; love, grief, content, shame and joy. Whether if its fado, klezmer, blues, mariachi or joik – the sounds belong to us all and resonates regardless of its form, colour or language. The Music Information Centre Norway Womex Magazine features a close encounter with some of today’s most vibrant storytellers: Unni Løvlid, Johan Sara Jr, Standing on the shoulders of giants 3 Annbjørg Lien, , Frikar, Trio, Unni The Great Nordic Night/Band 4 Boksasp Ensemble, Synnøve S. Bjørset, Majorstuen, Valkyrien Allstars Johan Sara Jr. Orvoš: the mountain of outlook 6 and Skaidi. They all represent their very own, local contributions to the Unni Løvlid: rooted explorations 8 global sound. Showcase Scotland 12 Valkyrien Allstars 13 Martin Revheim Majorstuen 14 Director MIC Norway Unni Boksasp Ensemble 15 www.mic.no Skáidi 16 Synnøve S. Bjørset 17 Gjermund Larsen Trio 18 Music Information Centre Norway 20

Editor: Tomas Lauvland Pettersen Text: Christian Lysvåg and Tomas Lauvland Pettersen Design: MIC Norway Cover: Johan Sara Jr. Photo Knut Åserud Annbjørg Lien. Photo Erik Holand Ragnhild Furebotten

With the arrival of Womex in Copenhagen, one has decided to make the be asked. I am really looking forward to playing with all of them, espe- showcasing the unique instruments she uses and her personal Coming Home is duo record; my husband Ole Bjørn Rasch and I made openingThe concert a show of Nordic folk-musical élan. Created and directed ciallyGreat the ones that I have not worked with previously. musical signature.Nordicit in our home studio. The title reflects the place we find ourselves men- by the Danish fiddler Harald Haugaard, The Great Nordic Night features tally. an all-star ensemble comprised of some of the leading traditional per- The idea behind the Great Nordic Night is that a group of top musicians –It is just fantastic that Womex is coming to Copenhagen, formers form Denmark, Norway, Sweden, Finland, the Faroe Islands, will be the backing band for a string of soloist from the same Nordic coun- exclaims Lien. And the Great Nordic Night is a brilliant idea Six years ago the couple moved to Kristiansand and set up a studio The Sámi areas of the north as well as Greenland. Backed by this Great tries, so that together the band and the soloists will deliver an ultimate I think. I know almost everyone, and it is such a great col- in their home by the sea. Nordic Band, a number of outstanding Nordic soloists will give a display presentation of Nordic folk music; in terms of instruments, sound, genres lection of musicians. of their unique musical art. and individual skills. However, the musicians in the band are also brilliant –It felt like settling down, says Lien; like having arrived, with time to pause soloists, so there are likely to be overlaps. Lien will be doing two separate solo performances: and feel at home. In advance of Womex we had a talk with two of the Norwegians travelling On the record Ole Bjørn Rasch, who is a professor at the University in to Copenhagen to join ranks with their fellow musicians for The Great –We have scheduled a week of preparations for this production, says -One spot will be just me alone, without any backing, which Kristiansand, plays the foot bellow organ. Nordic Night. Furebotten. We will rehearse in Copenhagen and on the island of Fyn, means that focus will be on the instruments, the sound and and then meet up with the soloists before the show in Copenhagen. details. The other spot I will be doing is together with the –It is a very organic and slow moving instrument with a lot of phys- Ragnhild Furebotten is one of Norway’s foremost young folk musicians. Swede Johan Edin on key harp. ical presence in terms of the actual work and noise of playing As a member of the vanguard fiddle ensemble Majorstuen she was at As for her own projects Furebotten reveals that she is working on a new it. Together with my acoustic instruments, it creates a very in- the forefront of the revival of Norwegian folk music that commenced a solo record, which will be featuring a sextet of horns. A celebrated musi- This typically Swedish kind of chordophone is timate and naked atmosphere. In a way this record feels like fewNight/Band years back, and which is still growing in strength. Now focusing on cal innovator, she has been one to explore and expand her North-Norwe- unique in sound and technique, and as such it is we’re inviting the listener a lot closer than what I am used to her own projects, Furebotten continues to be at the centre of the surge gian folk musical roots. The horns will constitute another new dimension something of a national instrument; an equivalent with bigger, more complex productions. It felt very good do- of traditional Norwegian music in its modern day, genre-expanding form, added to the traditional idiom by Furebotten. to the Annbjørg Lien’s Hardanger Fiddle. However, ing it this way, as a contrast, and as a way of giving a musical which reinvents the tradition whilst at the same time upholding the age- the Norwegian also masters the key harp, an instru- expression to the sense of having settled down. old musical idioms of rural Norway. Last year saw the debut of her solo –It will be a kind of sequel to Finally Waltz, says Furebotten, with my own ment that has been with her for quite some years, she project the Ragnhild Furebotten Trio and their record Finally Waltz was songs and my northern tradition as the basis. But I also hope to get back relates. On her soon to be released new record Coming Coming Home will be released in Norway on October 12th and hailed as a masterpiece of imaginative folk music. Most recently she to the trio soon, which is really my dream constellation. And I’m sure there Home the key harp is there, along with the other sometime later in the rest of Europe and America. As a folk has released a record with her old friend and collaborator guitarist Tore will be another trio record in the not too distant future, but the others will instruments she calls her own: the Hardanger fid- musician of international renown, Lien’s records are in de- Bruvoll. Currently on tour in Ireland with their project Hekla Stålstrenga, have to stop having so many babies, it´s interrupting our work, laughs dle and the standard fiddle. On the record Lien mand across the world, even when they express the most Furebotten reveals that she is full of anticipation for The Great Nordic Furebotten. also makes a rare, but convincing vocal perform- domestic of airs, or perhaps especially then. Night in Copenhagen: ance. The other Norwegian musician we spoke to in conjunction with The Great The Great Nordic Night also features the Norwegian -I have worked extensively with Harald Haugaard, so naturally we know Nordic Night is the renowned Hardanger fiddler Annbjørg Lien. After –It is a song that I have inherited form Kristen dancer Hallgrim Hansegård of Frikar Dance Company. each other very well musically. I guess that is why he wanted me in this more than twenty years as a profiled folk musician and with a number Bråten Berg, a beautiful tune called Coming band; he knows my music and what I can contribute. The band is made of records to her name, she is one of the true international stars of tra- Home, says Lien. But it is not because of the Womex: Wednesday 28. October at 8 pm up of great musicians, many of which I know, so it is a great privilege to ditional Norwegian culture. As one of the selected soloists she will be song that we chose to give the record that name. Copenhagen Concert Center / Studio 1 Johan Sara Jr. Photo Knut Åserud Johan Sara Jr.

Sometimes record titles are more than catchy words. For Sámi artist Jo- -On Boska (2003), the previous record in the cycle of which Orvoš is the What will making man the theme entail musically? In which direction will feel like a breech of tradition, it is vital that the Joik is institutionalised as han Orvoš: Sara Jr. the titles of his records are in themselves important acts third, it was the other way around, says Sara. Boska was based more on you be pushing the Joik the next time? a musical expression which can be taught on par with e.g. Norwegian of naming, and thus of invoking the named. His latest album is entitled a western musical syntax, and perhaps more accessible in that way. folk music. Orvoš, which means the elevation from which everything is visible; the Orvoš is more complex and less accessible: there is more movement in -That is a good question, and one I am unable to answer. However, it is point where one stands to keep an eye on the world. the rhythm and intricate micro tonality woven into the melodic phrases. true that my project is to take the Joik places it has never been before and The issue is close to Sara’s heart, for he has spent much of his life as a The north-Sámi tradition is musically complex, and it is the melodic and juxtapose it with musical idioms and attitudes of the unconventional kind. pedagogue and he thinks the potential of Sámi music as a global musical -The same notion of perspective is true of the music, says Sara. On Orvoš rhythmic structures that drive it, not words or narrative. In this way it is What we did with Orvoš, bringing in punk, noise and rough-edged crunch, expression is still vast and largely untapped. This brings us to Womex I have delved far back into the Sámi tradition and the Joik on this record close to the shamanistic, trance-inducing essence of Joik, even though I had not been done before to my knowledge. and his expectations towards the showcase he is doing there with his is closer to the original expression than much of the Joik that features in have too much respect for this aspect of our culture to say that my music group. modern Sámi crossover music. is shamanistic. Joik is often a matter of improvising, or more precisely of voicing a kind of entity that is already there. Joik has no beginning or end; it is a circu- -I have never been to Womex before, so I don’t know what to expect re- For the uninitiated, Joik is the name of the ancient Sámi vocal expression Those of his people who have heard Orvoš, and listened carefully, have lar, ongoing thing in which repetitions and a few key words make up the ally. But we certainly have high hopes for the showcase and focus all our that is so much more than an artistic or cultural expression in the com- given their consent reveals Sara: framework, especially so in the northern tradition. How is this nature of energy and resources on this now. Naturally the most important thing is monplace sense of the word. In its original form the Joik was functional; the Joik accommodated into a recording process we wonder? to attract as many as possible of the international music business people it was a way of structuring the world and of naming and sustaining its -They acknowledge that it is a special project; something that delves to our showcase. The key is to establish contacts, and get a foothold in entities. deeper than the mere exotic and tries to re-establish the truth-functional -To a certain extent we let the Joik develop with the musical arrange- the European markets for world music. Like I said, Sámi music is still thenature of the original Joik. mountainments, but on the basis of a more or less clear idea. It is the Joik and its very much unknown, despite artists oflike Mari Boine. When I have played -The tradition that I belong to, which is the northern Sámi tradition, is melody that forms the backbone, and then musical arrangements and in Europe people have been amazed and intrigued; wondering where close to this original and functional essence. Aesthetics are not the main There is a lot of ideology behind Sara’s musical project and the band instrumental improvisation take place with and around the Joik. Orvoš this unique expression hails from. It is European music, I tell them. Hope- concern, and it is far from the pleasantly exotic and perhaps romantic Johan Sara Jr. Group. As mentioned, Orvoš belongs in a circular and has been a three-year long process, during which I have worked closely fully, the future will entail a knowledge and exposure of Sámi music on idiom that some associate with Joik. Other traditions are more epic in holistic unity with the previous records, as well as those to come. Orvoš with co-producer Erik Halvorsen. par with that of other indigenous traditions. The potential is great, I am nature, with more words and more narrative, while my tradition is truthful bespeaks the mountain, the earth; geology. The former, Boska was about certain of it. to the harshness of the arctic conditions. On Orvoš it has been important the plants and flora, while the first, Ovcci Vuomi Ovtta Veaiggis was the The question of recording, and more generally, the question of how Joik for me to bring out the truth that the Joik names; that life in the north is Joik of the wolf and an invocation of the animal realm. is conveyed and passed on, takes us to one of Sara’s main concerns as www.johansara.com often rough and uncomfortable. a Sámi musician and pedagogue: The next record, reveals Sara, will be about man. On Orvoš this is expressed musically by the juxtaposition of Joik with ele- -Traditionally the Joik was passed on as an oral expression, from father ments of punk, brute noise and a rough-edged and crunchy sound. -It is natural that the next step is to Joik about man and mankind. Perhaps to son. But we have to realize that this tradition is now extinct, which it will be about our direction, a record of reflection, I don’t know. means that we must think differently about how this essential aspect of -I wanted the sound to be unpolished and raw, with references to punk. our culture can be preserved and passed on. It is important that we work Womex: Friday 30. October at 12 pm Orvoš also has elements of jazz in it, and rock, but most of all the music towards de-mystifyingoutlook the Joik, so that we can supplant the hazy notions Nordic Club is adapted to the functional, truth-bearing Joik. of an archaic spiritual practise with concrete education. Even if it may Copenhagen Concert Center / Studio 4 Unni Løvlid is everywhere: her musical projects are numerous, the gen- a musical experience that record, 2008’s Rite –a piece is towards the intersections where communication takes place despite res many and the collaborators diverse. Almost constantly she travels the brings to mind oxymorons, likeUnni Løvlid:of music that took its lead from the differences. Again, this is something connected with my roots in tradi- world to perform in the most disparate of contexts. Milton’s darkness visible. The almost- Vita and pushed things even fur- tional music. The tradition is a constant, if not as manifest music then as nothingness of the production makes the ther, into the realm of primordial a horizon of values. The nature of folk music is that something is upheld -I like that things are constantly changing, says the young, experimental sparse sounds stand forth in utter intensity. awakenings– Løvlid wrote all the as a constant while something else is in continuous development. folk singer. As a musician I guess I am very restless, I am always search- Is there, in her conception of music, a tug between the lyrics herself. ing for new vantage points and new directions to move in. However, it is meditative and the communicative we wonder? -A At Womex Løvlid will mainly be performing material from Rite. As a first- not a frantic kind of quest that I am on, I feel that there is always this basic conflict between the solitary and the social? -It was very demanding, really timer her expectations for the event are high: thing that I bring with me, a constant element amidst the dynamism. very tough. Writing myself was what I -I don’t think there is any contradiction between these two wanted, but I could never be a full time poet or writer, it is too -One part of it is the business aspect of acquiring contacts and hopefully This element is her firm rooting in Norwegian folk music and the sense aspects, says Løvlid. Communication is at the heart of demanding for me, and perhaps too reclusive and solitary. opening up new markets and possibilities. But most of all I am looking of belonging to a tradition. Løvlid started out as a celebrated traditional music; it is the only reason for being a musician. But on forward to meeting other musicians and hearing new music. I love being singer, and it is from this base that she has developed her personal idiom the basis of a communicative goal I think it is interesting to Music however, Løvlid writes all the time; different genres – or in the audience and just soaking up inspiration! and explored the universe of music; a journey that has taken her in dif- push expressions in the direction of sparseness and most of the time beyond genres really– but also specific ferent directions, towards contemporary and classical music as well as near-quiet, both musically and semantically. projects and commissions. What is the musical writing The record that will follow in Rite’s path is evolving in Løvlid’s mind: electronica and experimental expressions. process like we wonder? rootedWords mean a great deal to Løvlid, sheexplorations -It will be a record in the same spirit as Rite, and again I will write every- -My musical identity is intimately bound up with my background in folk reveals, in a natural way they con- The writing is pure craftsmanship, thing myself. But there is no telling when it will be ready, it is not some- music, which allows me to be myself in all the different settings. Folk stitute the fundamental aspect says Løvlid. But I use different ap- thing I can hurry along. music is my anchorage and I could not be who I am, or do what I do, with of singing. proaches. Sometimes I compose a different point of departure, that I am sure of. on an instrument, other times I There is no need to wait for new music from Løvlid though; only a few -I love literature and poetry make it into more of a mental days ago she released a record with Norwegian saxophonist Rolf-Erik Løvlid is very conscious of the great privilege it is to feel such belonging, and I am always looking for process, entailing a lot of think- Nystrøm and Mauritanian/Senegalese guitarist Becaye Aw. Seven Winds and also of the responsibility one accepts entering into a tradition that good lyrics that I can use. ing and purely abstract experi- is a collection of songs based on the poems of Norwegian poet Olav reaches backwards in time and that also needs to look to the future: -Especially poets that mentation. I often find that I think H. Hauge, and like Hauge’s poetry the music is a fusion of Norwegian emphasise and master the in systems, but many systems folklore and the three musicians’ distinct musical dialects, with all their -Traditional music is also about values and attitudes, says Løvlid. It is phonetic aspect. I admire at the same time! And I always global influences. about receiving something that one has the responsibility for passing on. such people immensely, change my perspective continu- This notion of being trusted gives me a sense of security that allows me because I know how hard ously as I go along, which en- www.unni.no to experiment and explore. it is and how much work it tails that I try to make use of takes. the first sketches, because they Womex: Saturday 31. October at 10:30 pm Vita, Løvlids 2006 record of religious folk tunes, was such an experiment. are often the most poignant and Nordic Club It explores the limits of music in the meditative direction one could say: On her previous solo powerful. My musical orientation Copenhagen Concert Center / Studio 4 Unni Løvlid Photo Geir Dokken

Heilo_ann_okt09_210x297 16-10-09 09:37 Page 1

July 8-11, 2010 See Annbjørg Lien at the opening show Wednesday the 28th of October

Meet us at Womex stand B2-040/041/042 Foto: Knut Utler ALIENS ALIVE WALTZ WITH ME COME HOME TRONDHEIM

ÅLESUND

FØRDE www.gasta.no

GASTA See Unni Løvlid at the Nordic Club

OSLO STAVANGER Saturday the 31st of October

KRISTIANSAND

The Førde Folk Music Festival, in my experience, was the best produced and brilliantly programmed festival I've ever attended. (Evangeline Kim, National Geographic Music, 2009)

VITA RITE SEVEN WINDS

Scandinavia’s largest festival Scandinavia’s no.1 label for for acoustic traditional and world music - with a strong focus on the Norwegian and Nordic traditional and contemporary music scene. The festival was established in 1990 in Førde, a small town in the fjord region of Norway. ethnic, folk and world music

[email protected] • Phone: +47 57 72 19 40 www.fordefestival.no See us at the Nordic stand - ch 1

Marketed by Grappa Musikkforlag [email protected] // www.grappa.no Showcase Scotland Valkyrien Allstars Gjermund Larsen. Photo: Agnethe Weisser Womex is a unique opportunity to present one of 2010’s most promising initiatives for the benefit of the Norwegian folk music circuit: Showcase Scotland’s ’Spotlight on Norway’.

In January 2010 Showcase Scotland will host a “Spotlight on Norway” Valkyrien Allstars event presenting five Norwegian artist chosen in partnership with the Norwegian Traditional Music Agency and Celtic Connections. Norwegian folk music’s com- mercial flagship gears up their inter- Showcase Scotland, a division of the massive Celtic Connection festival, national campaign with a number of appear- is the largest gathering of the international music community in the Scot- ances abroad in late 2009 and early 2010. tish calendar. A chance for promoters, record labels, agents and festival organisers to meet both the Scottish industry and each other, and an With appearances at countless domestic music opening to see, firsthand, a vast display of performances from the cream festivals over the last two years, Valkyrien Allstars of Scottish talent. deserve to be named ‘festival act of the year’ – re- gardless of genre. Last summer saw the folk trio Each year Showcase Scotland also invites another country or region to playing more festival gigs than any major domes- present their music at the same venues. This has given the Norwegian tic pop/rock act, making the hugely successful Traditional Music Agency, Music Export Norway and the Norwegian Em- outfit a commercially flagship of the current ‘new bassy in London the opportunity to sign a partnership agreement with wave’ of Norwegian folk music. At the end of the year, Showcase Scotland in 2010. Norway receives the handover from Que- Valkyrien Allstars will have played more than 200 gigs, bec who was partner in 2009. The agreement gives Norwegian artists a ranging from major outdoor rock festivals to intimate settings significant opportunity to play for a global audience, eager to discover in rural areas. new music to bring back home. Valkyrien Allstars call themselves a folk/blues/experiential trio of Says the Norwegian Traditional Music Agency’s Silje Førland Erdal: ‘This traditional musicians. This entails putting the most epitomic of Nor- initiative gives Norway’s prime folk performers a unique opportunity to wegian traditional instruments, the Hardanger fiddle, to new uses and present themselves on one of the scene’s major showcasing arenas and infusing the traditional sound and musical structure with a diversity of to network with key international reps. ‘Spotlight on Norway’ also repre- new elements. Important among these is the unique voice of Tuva sents a strengthened status and increased international focus on tradi- Syvertsen. Where traditional Norwegian folk music would empha- tional Norwegian folk music.’ sise a style of singing reminiscent of a crystalline mountain stream, Syvertsen’s voice is distinctly bluesy and soulful. It has something www.celticconnections.com of Janis Joplin’s coarse-beautiful power, some of pop artist Pink’s vocal www.folkogdans.no pivots, some Norwegian pagan frivolity and a lot of Syvertsen’s own fiery personality. As with the other two members, Ola Hilmen and Erik Solid, she also plays the Hardanger fiddle though, and Valkyrien is first and foremost a fiddle trio, make no mistake about it.

In addition to the band’s success on the live market, last year’s critically acclaimed self-titled album sold to platinum on the domestic market. Au- tumn 2009 saw the release of the trio’s second album ‘To Måner’ which has also performed well on domestic sales charts. A Japanese tour is scheduled in December this year and appearances in Russia and in the US as well as a much-anticipated showcase at the ‘Spotlight on Norway’ event during Showcase Scotland remain high on the band’s agenda.

www.valkyrienallstars.com Unni Boksasp Ensemble - - -

region’s rich musical heritage.’ region’s audi domestic for performances successful of range wide a to addition In ences, Boksasp also performed several well-attended showcases at the 2009 Folkelarm event in which drew a considerable international music industry contingent. Boksasp’s performance was highlighted by finest. many of the international delegates as being one of the event’s www.boksasp.no Unni Boksasp is a young, vital and charismatic folk singer who originally hails from Tingvoll on Norway’s north-western coast line. For her ‘Spotlight on Norway’ celebrated performance, vocalist is the backed by an all-star team of musicians; fiddlers Jorun Marie Kvernberg (of Majorstuen fame) and Olav Luksengård Mjelva, bassist Magne Vestrum and Trygve Brøske on harmonium. The versatile vocalist, who has Art her of Faculty training the and from Stockholm in the Music of College Royal performs College, University Telemark the at Culture Folk and both as a solo artist and with a band. The core of Boksasp’s repertoire is the rich vocal traditions of the Nordmøre region on Norway’s north-western coast. Boksasp has studied the vocal style finest performers. extensively for years, with some of the tradition’s Boksasp has also performed contemporary works written by such well-established composers as Henning Sommerro and Henrik Øde gaard. 2007 saw the release of firstBoksasp’s solo outing, ‘Songar fra Havdal’, the in reviews positive highly of number a Boksasp earned that album an domestic music press. A review excerpt: ‘The disc’s arrangements are album’s the are that vocals excellent the for room leave and sophisticated focal point. This is a debut that solidifies a continued existence of the Unni Boksasp Photo Kari Loevaas Kari Photo Boksasp Unni ------2010 will be busy for ‘Norway’s hot test fiddlers’ Majorstuen – a year that kick- starts with Showcase Scotland appearanc es and the launch of a brand new album. es and the launch of a looking musical expression. Already six-strong this 2003, from album debut eponymous with their fiddle ensemble made it clear that things were popular image as a hugely dynamic and forward- The name Majorstuen has come to signify the revival the signify to come has Majorstuen name The of Norwegian traditional music and its newly-won

changing in the sphere of Norwegian folk. Words like “explosive” and “groundbreaking” had not previously been associated with pure fiddle music, but that was be fore Majorstuen came along.

Majorstuen’s Majorstuen’s secret is the way the six fiddlers have refined their widely-different musical dialects into a single characteristic and play and characteristic single a into dialects musical widely-different the more open and playful when it comes to ways of reinterpreting and reinvigorating the fiddle heritage. musical impulses, making their pure fiddle music zeitgeisty and fresh. musical impulses, making their pure fiddle music zeitgeisty andfresh. They are conservative about sound and instrumental line-up, but all ful language. But just as important is the fact that they have allowed this folk idiom to be influenced and energized by urban and eclectic

traditional musicians: Highly-educated, musically versatile, involved in diverse musical projects and constantly travelling; Majorstuen’s fiddlers represent the new folk musicians of the 21st century. A new album has been recorded during autumn 2009 and is scheduled for release in early February next year. An exclusive pre-launch of the stint at Spotlight on Norway/ album is set to take place during the band’s Showcase Scotland in January 2010. www.myspace.com/majorstuen The result is music which is deeply rooted in breaks Majorstuen tradition and new. something is distinctively it time same the at and Norwegian, down old barriers between rural and urban concepts by presenting fiery, energetic and clever music that seems just as appropriate in a city club this that spectacle live the is it anything, than More stage. village a on as band puts on that has earned a reputation. Says band member nøve Syn Bjørset:“The surprise and freshness of Majorstuen is not so much a matter of constellation and repertoire as the way it is played. We are ‘hap of sort the and personalities live our that think I and instrumentalists pening dynamic’ we bring to the stage are an inexhaustible source surprises of and unexpected things. This dynamic and the direct relation to the audience are more important to us than experimentation with new sound or new elements.” The members of Majorstuen are still young and continue to expand their musical horizons in all kinds of other projects. In this way as well, these musicians have contributed to a new dynamic professionalism among Majorstuen. Photo: Oddleiv Apneseth Oddleiv Photo: Majorstuen. Majorstuen Synnøve S. Bjørset ------

the country, the such country, as Håkon Høgemo. By working with historical archive recordings she has developed a distinctive repertoire based on a mini malistic latest melodic material. March 2009 saw the release of Bjørset’s tunes little-known of collection melodious tasteful, a - ‘Slåttar’ outing, solo root are tunes traditional The standards. familiar of reinterpretations and ed in the fjord and mountain regions of Sunnfjord, Sogn and areas Valdres; where dance tunes and spiritual airs go hand in hand. Many the tunes are based on simple melodic of structures, which Bjørset attacks with her own brand of ferocious Hardanger fiddle minimalism. Building on archived transcripts and recordings, she has developed a uniquely individual style that accentuates the rhythmic nuances of the music. September 2009 saw Bjørset playing a set of superb solo performances at Oslo’s Folkelarm showcase festival in front of a delegation of interna tional music industry execs which in turn has led to a number of future appearances abroad. www.myspace.com/ bjorset Solo Hardanger fiddle – traditional Norwegian folk music doesn’t get any purer style’s the of one is Bjørset S. Synnøve this. than most vital voices. Mention traditional Norwegian folk music and it’s very likely that the first instrument manyate with this genre associ is the Hardanger fiddle. In the hands of a master, it lends a unique tonal char acter to the folk tradition. And a master what is Synnøve Bjørset just is. Her technical skills and sense innovative an with coupled control, dynamic her of expression, is indication that the future of traditional Norwegian folk music is in good hands, indeed. audi domestic a for solely performing to confined not is Bjørset around extensively toured has she years eight last the over - ence the world. In addition to her focus on a traditional solo from the Sunnfjord repertoire and Sogn regions, Bjørset is also an active mem ber of such acclaimed ensembles as Greatest Girls of Norway and Majorstuen. timbre and sound the was me fascinated what first, ‘At Bjørset: Says of the Hardanger Fiddle: rough, crisp and porous, resonant and rich in harmonics, defiant and vulnerable. Then I became captivated by the joy the them with and tunes, smaller other, found I Later tunes. epic great of discovering greatness in little things.’ drawn and Music of Academy State Norwegian the at studied has Bjørset in fiddlers outstanding most and best-known the of some from inspiration Synnøve S. Bjørseth. Photo Vegard Fimland Vegard Photo Bjørseth. S. Synnøve Skáidi. Photo Ole Hesledalen Ole Photo Skáidi. ------“Spotlight on Norway’s” representa tives from the Sami music tradition, Skáidi, fuse joik and jazz into a unique concoction. fuse joik and jazz into ers (a performer of the ancient Sámi chanting vocal chanting Sámi ancient the of performer (a ers style). With Skáidi, Raknes and Juuso have man Juuso – one of the nation’s foremost female joik aged to make use of elements from their respective their from elements of use make to aged Skáidi is a union of two top performers with wildly dif wildly with performers top two of union a is Skáidi fering backgrounds: Steinar Raknes – arguably one of Norway’s best jazz double bassists – and Inga

styles and genres to create a new, raw, coherent and groundbreaking form of expression. Juuso and Raknes have performed frequently together over the last decade, a collaboration that resulted in last year’s critically acclaimed

album ‘Where the rivers meet’. The foundation for the duo’s repertoire is compositions written by expression. Skillful management of dynamics is another field in which in field another is dynamics of management Skillful expression. Skáidi excel – their tunes range from muted lyrical passages to wild lenge each other to explore new aspects of their respective forms of tory. Improvisation is at the forefront for the two, who consistently chal consistently who two, the for forefront the at is Improvisation tory. challenges the preconceptions of genres and explores uncharted terri uncharted explores and genres of preconceptions the challenges Raknes to complement Juuso’s joiks, and the end result is a mix that and exuberant cascades of energy. Skáidis music is lyrical, stripped-down, melodic and highly rhythmical. The mix of compositional structures and improvisation renders the sonic palette spontaneous and playful. Framed by Steinar’s arrangements, In voice ga’s is a sweeping tumult of vitality and life force; often leaving the listener with new-found faith in fairytales and subterranean landscapes. This encounter between two musical traditions is laced with elegance, artistic depth and healthy doses of humour. The past year has seen the duo reaping the benefits created by ‘Where home at extensively performed have They reviews. rave meet’s rivers the Argentina. as well as throughout Scandinavia and in France, Spain and www.skaidi.org Skáidi Skáidi Gjermund Larsen Trio www.gjermundlarsen.com possibilities.’ the exploring and folk of horizon the expanding about more is it really; genres other with expressions traditional merging in interested not am I which could mean untraditional instrumentation or novel rhythm patterns. context, new a in shine and out stand them make and elements folk the formula, like an unconventional rhythm pattern. The challenge is to retain my starting point from something that is clearly in breech of the traditional take I times other But framework. conventional the within work simply I so and traditional, entirely sound to write I music the want I ‘Sometimes organ, andoccasionallyusingcomputersoftware. Gjermund composeshismusicontheviolin,sometimesa foot bellow goal istomakegoodmelodies.’ melody.the My and music the of ambience the on emphasis put always I influence. this with do to has vein poetic so-called my think I music. his in melancholia of lot a and elements lyrical strong are There repertoire. who wasa local fiddlerandcomposerwithan unusuallyrichanddiverse of playing. However, my chief source of influence is Hilmar Alexandersen style aggressive and rough pretty a with music, dance primarily is This important. most been always has region home my the of though music traditional even Gjermund, says music, of kinds all by inspired am ‘I of Norwegian folkmusicseemedtohavebeenbroadened. horizon whole the that execution in tempered well and beautiful so and emotion in diverse and rich so songs of selection a out; stood truly that record a was this music folk Norwegian of revival brilliant the amidst Spellemannspris award – the Norwegian equivalent to the Grammy. Even a won and acclaim unanimous reaped (Arrival) «Ankomst» Trio.Larsen Gjermund own his of debut record the saw year Last meditations. quil tran to tunes dance catchy from sensibility: poetic his of range broad the and melodies his of lure natural the tone, his of warmth gentle the by distinguished musician folk poetic uniquely a Gjermund call Critics landscape. sonic rewarding and aesthetically a in results that background diverse contemporary, to jazz and pop as well as traditional folk music – a – music folk traditional as well as pop and contemporary,jazz to The date. to collaboration fruitful the continued have three the and ‘Brytningstid’of premiere the at ist/organist played Utnem Andreas repertoire, a repertoire that has continued to grow in magnitude in grow to continued has that repertoire a repertoire, pieces featured in ‘Brytningstid’ still constitute the base of the trio’s and diversity over the last two years. The three band members band three The years. two last the over diversity and represent a wide range of genres, spanning from classical and classical from spanning genres, of range wide a represent the Trøndelag region. Double bassist and pian tion from the local dance music traditions of the Verdalthe of traditions music dance local the from tion in area contemporary and original folk music, which draws inspira draws which music, folk original and contemporary val two years ago. The majority of the work is devoted to devoted is work the of majority The ago. years two val tid’ which was commissioned by the Telemark Festi Telemarkthe by commissioned was which tid’ composer came in the form of the work ‘Brytnings- work the of form the in came composer Wallumrød ensemble. Larsen’s proper debut as a as debut proper Larsen’s ensemble. Wallumrød r o te otmoay owga fl music folk Norwegian contemporary the on ers performers/compos active and respected most scene. Educated at the Norwegian State Norwegian Acad the at Educated scene. Gjermund Larsen enjoys a position as one of the emy educated fiddler and composer is a mem a is composer and fiddler educated emy Larsen, Ragnhild Furebotten trio and Christian and trio Furebotten Ragnhild Larsen, ber of ensembles Majorstuen, Frigg, Brødrene Frigg, Majorstuen, ensembles of ber has neverbeen. ht rns ok ui t pae it places to music folk brings that jrud asn rns trio a fronts Larsen Gjermund on ad ia fiddler vital and Young ------

Gjermund Larsen. Photo Grappa Gjermund Larsen Trio. Photo Telemarkfestivalen Norway - www.mic.no Music Information Centre Listen to Norway#2 2009

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