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A child prodigy, Bull was admitted to the Bergen orchestra as first violin at the age of eight. He soon was idolized on both sides of the Atlantic for his superb improvisations and his ability to play the violin polyphonically. Though he was hailed as "the Paganini of the North," some critics labeled him a charlatan for his apparently magic tricks on the violin. Bull counted among his friends the great names of his era: Schumann and Lizst, Emerson and Wagner. Longfellow and Hans Christian Andersen modeled characters on him, and he was in part the inspiration for Ibsen's Peer Gynt. Although he spent most of his adult life abroad, Bull was a tireless promoter of Norwegian art and culture. His concert improvisations were rooted in his native slåtter (folkdance tunes), and he modified his own instrument using the Norwegian Hardanger fiddle as a model. By mid-century, Bull realized his dream of establishing a national theater in Bergen. He gave Henrik Ibsen a start in theater management, employed the poet Bjørnstjerne Bjørnson, and promoted the music of Edvard Grieg. His attempt to establish a Norwegian colony, "Oleana," in the United States, however, failed through poor management. The words of the poet Aasmund Vinje, "That surely would be a man to write a book about," have been taken to heart by authors Einar Haugen and Camilla Cai. In addition to providing the first comprehensive listing of Bull's works (with full descriptions of all known sources), analyses of his compositions and their influences, and reviews of his performances, this biography gives life once again to a fascinating and flamboyant figure.
Fiddling for Norway is an engrossing portrait of a fiddle-based folk revival in Norway, one that in many ways parallels contemporary folk institutions and festivals throughout the world, including American fiddling. It is a detailed case study in the politics of culture, the causes and purposes of folk revivals, and the cultivation of music to define identity. The book begins with an investigation of the people and events important to Norwegian folk fiddling, tracing the history of Norwegian folk music and the growth and diversification of the folk music revival. The narrative takes us to fiddle clubs, concerts and competitions on the local, regional, and national levels, and shows how conflicting emphases—local vs. national identity, tradition vs. aesthetic qualities—continue to transform Norwegian folk music. Goertzen utilizes a large anthology of meticulously transcribed tunes to illustrate personal and regional repertoires, aspects of performance practice, melodic gesture and form, and tune relationships. Ethnomusicologists and readers who fiddle will enjoy both the music and the stories it tells.
Chloe has a devil of a time unraveling the mysteries of Norway's fiddle and dance traditions After her mother's unexpected death, curator Chloe Ellefson discovers hidden antiques that hint at family secrets. Determined to find answers, Chloe accepts a consultant job in Norway, her ancestors' homeland. She's thrilled with the opportunity to explore Hardanger fiddle and dance traditions . . . and her own heritage. Once their plane lands, however, Chloe and her fiancé, cop Roelke McKenna, encounter only disharmony. Chloe's research reveals strong women and the importance of fiddle music in their lives. But folklore warns against "the devil's instrument" and old evils may yet linger among the fjords and mountains. As Chloe fine-tunes her search for the truth, a killer's desire to stop her builds to a deadly crescendo.
Comprehensive survey of Grieg's 180 songs, considering particularly questions and issues of performance. Edvard Grieg's 180 songs mirror his artistic and personal development more intimately than any of his other music, yet are still the least known part of his output. This definitive appraisal, now revised and updated, discusses every song, including those left only in manuscript and sketches at the composer's death, set against the background of his life and times. It also deals with the poetry set, often chosen to reflect his current situation, and the poets, several of whom, including great figures of the day such as Ibsen and Bjornson, were his friends and colleagues. Grieg frequently bemoaned poor translations and indifferent performances, and the various editions and translations, from first publication to the present day, are also discussed, together with his own ideas for interpretation. Musical examples and analysis are included to give a closer understanding of Grieg's word-setting and harmonic development, although their performance is always kept paramount. BERYL FOSTER is a graduate of London University and studied singing in Colchester and at the Royal College of Music. As well as all the usual repertoire, since 1980 she has made a particular study of the songs of Grieg and other Norwegian composers, giving recitals, lectures and workshops in Britain, Norway, Germany, the Netherlands, Italy and China. She is also a private teacher andfestival adjudicator.
A comprehensive study of the Shetland Isles 1970-1980, one of the liveliest fiddle-playing traditions in the world.
Violinmaker Giovanni Castiglione searches for a long-lost instrument that was possessed by famed violinist Niccolo Paganini. Full of remarkable history and musical lore, "Paganini's Ghost" will enchant music lovers and Italophiles alike.