Image Image Image Image Image
Scroll to Top

To Top



On 05, sep 2015 | In | By lablax


Olav Kielland: Villarkorn
Erik Dæhlin: Den tredje, første, andre, åttende, sjuende dagen
Ingfrid Breie Nyhus, piano

These 20 «Quiet Pieces», stille-stykkje, are Olav Kielland’s piano music Villarkorn, drawing inspiration from Norwegian folk music and the harding fiddle, and Erik Daehlin’s new music based on a folk song about a visionary dream, as sung on an old recording.

Pianist Ingfrid Breie Nyhus plays the music as if it was folk music – taking on a journey through simplicity, repetitivity, groove, and listening states.

Norwegian composer and conductor Olav Kielland (1901-1985) wrote the piano work Villarkorn in the 1940s, published in 1951, a set of 20 «quiet pieces». They were written after he moved to the district of Telemark in Norway, to live close to the rich folk music traditions there. The pieces are composed with the traits of the harding fiddle music as building bricks, and they also hint to the tales of magical creatures and powers that have been an important part of folk songs and stories, even everyday life, of the people. Norwegian composer and performing artist Erik Daehlin (born 1976) has made five pieces for this album, named The Third Day, The First Day, The Second Day, The Eight Day, The Seventh Day. They are variations built upon an old recording from 1937, Margit Boe singing the folk song Draumkvedet. This folk song tells the tale of Olav who slept for 13 days, visiting the afterlife in his trancelike dream.


To order the physical CD:

«Ingfrid Breie Nyhus is a magically poetic pianist who specializes in repertoire that combines modern classical and folk idioms. (…) Nyhus internalizes the Kielland ethos and gives it back to us with beautifully evocative performances. If Satie was Norwegian and became enthralled with local forms, his music might have sounded something like this. (…) The snippets of recorded vocalizations come at us in a quietly, ghostly sort of eerieness, as if the past were communicating to us from a distance, very much still alive. (…) It is thoroughly beautiful, still, quiet, yet with a movement through to the present, like water rippling forward inexorably but gently in a quiet rural stream. This is a program of great beauty. Ms. Nyhus gives us ideal performances. Strongly recommended.»
Gapplegate Classical-Modern Review