Hardanger Fiddle in Art Music
Johan HALVORSEN (1864–1935)
Fossegrimen, Op. 27 (1904-5) [16:08]
1. Fossegrimen - Allegro moderato [5:55]
2. Nissene på låven, gangar [2:38]
3. Bruremarsj - Allegretto marciale [5:00]
4. Fanitullen - Allegro con fuoco [2:35]
(1, 3, 4 piano arr. by Ingfrid Breie Nyhus)
Sven NYHUS (b. 1932)
Three Works for Hardanger Fiddle Solo (1979–1982) [15:05]
5. Rondo [4:44]
6. Fantasi No. 1 [4:49]
7. Fantasi No. 2 [5:32]
Johan KVANDAL (1919–1999)
Quintet for Hardanger Fiddle and String Quartet, Op. 50 (1978) [12:28]
8. Andante [8:30]
9. Allegro [3:58]
Åshild Breie Nyhus (hardanger fiddle), Ingfrid Breie Nyhus (piano), Per Kristian
Skalstad (violin), Per Saemund Bjørkum (violin), Anders Rensvik (viola), Audun
Sandvik (cello)
rec. 23–27 May 2013, Jar Church, Norway
SIMAX PSC1333 [43:41]
Hardanger is a fylke (region) in central Norway
around the Hardanger fjord. It is a mountainous area with wide glaciers, rather
sparsely populated. The Hardanger fiddle is a typical folk-music instrument
for the region. It has been used since at least the middle of the 17th
century and nowadays it is very similar to a violin but with eight or nine
strings. Four of these are strung and played like a violin while the rest
are under-strings, sympathetic strings which resonate under the influence
of the four upper strings. The instruments are usually highly decorated. The
bridge is flatter than a normal violin bridge and allows the player to play
on two and sometimes even three at the same time. The tuning varies from place
to place.
The hardanger fiddle is primarily a folk-music instrument, used for dance
music and bridal processions, and is regarded as one of the most important
symbols for ‘Norwegian-ness’. It became central during the striving
for national independence in the 19th century. The instrument and
the dances (slåtter) were played at concerts and the pioneer was Myllarguten
(The Miller’s Boy) who, helped by legendary virtuoso Ole Bull first
played his repertoire in Christiania (today’s Oslo) in 1849. During
the second half of the century several classical composers were inspired by
the folk-music: Halfdan Kjerulf, Johan Svendsen, Edvard Grieg and Johan Halvorsen.
The latter was also the first to compose and perform music specifically for
Hardanger fiddle. For many years he was assigned to write incidental music
for the National Theatre in Christiania. When they mounted a play partly based
on the legend of Myllarguten, he saw it as apt to use the Hardanger fiddle
as a solo instrument, as accompaniment to singing and also as solo instrument
with the orchestra. This play was titled Fossegrimen (The Watersprite)
and the suite from it is the opening work on this disc. The music was played
at the premiere on 29 January 1905 with Halvorsen as the soloist on Hardanger
fiddle. He continued to play at every performance until 1909, a total of 104
performances. The best known movement is Fanitullen (Devil’s
Dance). According to legend Myllarguten learnt to play the fiddle from the
Devil. This is truly riveting music. The piano part by Ingfrid Breie Nyhus
is based on Halvorsen’s orchestral accompaniment, which would have been
interesting to hear. Fascinating anyway to have this recording with the first
work in musical history to use the Hardanger fiddle in a classical music content.
The father of Åshild and Ingfrid, Sven Nyhus, is a legend within Norwegian
folk-music as fiddler and professor of folk-music but also a professional
viola player in the leading Oslo orchestras. He has also been an indefatigable
advocate for the use of the Hardanger fiddle in the context of art music.
His Three works for Hardanger fiddle solo were composed between 1979
and 1982 and it is easy to realise that this music was written by someone
who knew the instrument very well. The rondo is influenced by the Viennese
classicism while the two fantasies are more related to Norwegian folk-music;
the second of them is a halling, a typical Norwegian dance.
Contemporaneous with these pieces is Johan Kvandal’s quintet for Hardanger
fiddle and string quartet. The two movements are titled Lyarslått,
which is a dance to be listened to, and Dans. There are motifs and
elements from folk-music. The second movement has traces of the halling dance.
Harmonically, however, this is far removed from traditional folk-music. The
short allegro is the movement that is easiest to connect with the folk-music
tradition.
The sound of the Hardanger fiddle is very special and it may take some time
to get used to. With the sympathetic strings we get a meatier sound that contrasts
a lot with the four traditional classical instruments in the string quartet.
This contrast also creates thrilling conversations, like people who speak
related languages but which are so different that you don’t understand
all the words immediately.
This is a fascinating disc that should attract listeners from both the classical
and the folk-music camps. That said, allowance must be made for the very short
playing time. Nevertheless the music is expertly performed and impeccably
recorded. Bjørn Aksdal’s extensive liner-notes, from which I have derived
a lot of valuable information, give deep insight in the background to this
cross-over music.
Göran Forsling
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