{"id":8393,"date":"2025-08-03T17:02:07","date_gmt":"2025-08-03T15:02:07","guid":{"rendered":"https:\/\/www.baroniet.no\/om-knut-vaage-sine-verk\/"},"modified":"2025-08-03T18:15:31","modified_gmt":"2025-08-03T16:15:31","slug":"about-the-compositions-of-knut-vaage","status":"publish","type":"page","link":"https:\/\/www.baroniet.no\/en\/about-the-compositions-of-knut-vaage\/","title":{"rendered":"About the compositions of Knut Vaage"},"content":{"rendered":"
\n
\n

Wednesday 6 August at 19.30-21.30 <\/strong><\/p>\n

Opening concert Rosendal Chamber Music Festival <\/strong><\/a><\/h3>\n

Knut Vaage: Bumerang<\/strong>
\nOpus13 (string quartet)<\/em><\/p>\n

The piece \u00abBumerang\u00bb (Boomerang) is made up of contrasting sections that keep turning back, albeit never exactly to the same starting point. These various changes incite a restless expression. Another element of unrest is the use of different kinds of tremolo throughout most of the piece. \u00abBumerang\u00bb offers contrasting textures, both between the instruments and in the juxtaposition of the work\u2019s sections.<\/p>\n

The string quartet is a kind of ensemble that, from the Classical era to our time, has been used in order to try out new musical tools. In \u00abBumerang\u00bb I wish to get to grips with some of the special properties germane to string instruments. This takes place through a process that can perhaps be defined as an exploration of the instruments’ anatomy. \u00abBumerang\u00bb was commissioned by Nidaros String Quartet, who premiered it in their concert series in 2011. \u201cBumerang\u201d has been performed several times by various ensembles and recorded on CD by a quartet led by Ricardo Odriozola. The piece was financed by the Norwegian Cultural Fund. Now I am very excited to experience the young and award-winning quartet Opus 13’s interpretation of the piece.<\/p>\n

“‘Bumerang’ can be perceived as an athletic pursuit of surpassing, where moments of rest or disillusionment with a pounding heart are inevitable.<\/p>\n

Pizzicato, 23 July 2020<\/strong><\/p>\n

Link to Spotify from the CD Svev<\/a>, published on LAWO in 2020 (LWC1199)<\/p>\n<\/div>\n

\n
\"Knut

Knut Vaage, festival composer<\/p><\/div>\n<\/div>\n<\/div><\/div><\/div>\n

\n
\n

\u00a0Thursday 7 August at 16.00-17.30 <\/strong><\/p>\n

Concert in Kvinnherad church<\/strong><\/a><\/h3>\n

Knut Vaage: Fra 20 Blikk p\u00e5 Opus 54<\/strong>
\nKnut Christian Jansson (piano)<\/em><\/p>\n

OPUS 54 \u2013 from piano to sinfonietta and back to piano again<\/strong><\/p>\n

The piece\u00a0“20 Views on Opus 54”<\/em>\u00a0is a recomposition of\u00a0“Odyss\u00e9”<\/em>, which in turn was composed as an interpretive exploration of\u00a0“Lyric Pieces” Op. 54<\/em>\u00a0by Edvard Grieg. The idea behind\u00a0“Odyss\u00e9”<\/em>\u00a0was to highlight what I perceive as an interesting large-scale form in Grieg\u2019s work. If one views this collection of lyric pieces as a unified work, it appears to possess a rather unconventional structure. Grieg\u2019s sense of form moves beyond the grand romantic pathos. Characteristic themes are assembled in a sequence. Within each movement, it seems as if Grieg attempts to break the boundaries through restless crescendos\u2014even in the quiet movements.<\/p>\n

“Odyss\u00e9”<\/em>\u00a0was created as a free reflection on Grieg\u2019s opus, filtered through my own structural ideas throughout the composition.\u00a0“Odyss\u00e9”<\/em>\u00a0was commissioned by BIT20 Ensemble, funded by the Norwegian Arts Council, and premiered at Bergen Tourist Board\u2019s 20th anniversary in 2002. It has since been performed in several venues, including the Bergen International Festival and the Barony in Rosendal in 2011.<\/p>\n

Knut Christian Jansson asked me to create a series of short pieces that could serve as interludes to Opus 54, intended for performance alongside Grieg\u2019s work. I have structured the material from\u00a0“Odyss\u00e9”<\/em>\u00a0into 20 small reflections (views<\/em>) that can be performed as a whole or divided at the performer\u2019s discretion. Grieg\u2019s opus has in my work undergone a journey from piano to sinfonietta and back to piano again. In this latest version, the music has become more open and less clearly structured compared to\u00a0“Odyss\u00e9”<\/em>. The sections will likely be perceived more as events than as form-developing processes, and the music may therefore appear as small musical meditations.<\/p>\n

The piece was commissioned by, and dedicated to Knut Christian Jansson, with funding from the Norwegian Society of Composers. It is recorded on CD by Jansson Recordings in 2022.<\/p>\n

Listen to views 1-5 (Sheperd boy) on Spotify<\/a><\/p>\n<\/div>\n

\n
\"Knut

Knut Christian Jansson, piano<\/p><\/div>\n<\/div>\n<\/div><\/div><\/div>\n

\n
\n

\u00a0Thursday 7 August at 16.00-17.30 <\/strong><\/p>\n

Concert in Kvinnherad church<\/strong><\/a><\/h3>\n

Knut Vaage: “Skr\u00e5blikk p\u00e5 Haugtussa” (Oblique Glance at Haugtussa) <\/em><\/strong>
\nRagnhild Gudbrandsen (vocal), Hilde Haraldsen Sveen (soprano), Knut Christian Jansson (piano)<\/em><\/p>\n

“Skr\u00e5blikk p\u00e5 Haugtussa” (Oblique Glance at Haugtussa) <\/em>takes an oblique look at Grieg’s song cycle, exploring Garborg’s monumental poem “Haugtussa” in search of a different perspective from Grieg’s own. The selection of texts in “Skr\u00e5blikk..” focuses on Garborgs description of nature and mystique. The intention of the poem is conveyed by the actor, while the soprano’s primal sounds cast her as a creature of nature – or, at other times, dreamily entering the character of Veslem\u00f8y. From time to time there are references to Grieg, but for the most part, “Skr\u00e5blikk..” examines those parts of Garborg’s text that Grieg did not use.<\/p>\n

Garborg’s cycle of poems covers a wide span of emotion, from grief to exuberant joy.
\nVeslem\u00f8y can see the underworld; she experiences nature with great wonderment. I look forward to hearing the work at the same concert as Grieg’s famous opus.<\/p>\n

The work was commissioned by Hilde Haraldsen Sveen and Knut Christian Jansson, and dedicated to the performers who premiered the work in Troldsalen in 2023, and who will also perform the piece in Rosendal. The work is funded by the Composers’ Remuneration Fund. The piece was released on Jansson Recordings in 2024.<\/p>\n

Listen on Spotify<\/a><\/p>\n<\/div>\n

\n
\"Ragnhild

Ragnhild Gudbrandsen, vocal<\/p><\/div>\n

\"Hilde

Hilde Haraldsen Sveen, soprano<\/p><\/div>\n

\"Knut

Knut Christian Jansson, piano<\/p><\/div>\n<\/div>\n<\/div><\/div><\/div>\n

\n
\n

Saturday 9 August at 16.00-18.00<\/strong><\/p>\n

Concert in the Great Hall<\/a><\/h3>\n

About the cycle \u00abTILSTANDAR\u00bb<\/strong> (performed Saturday and Sunday):<\/p>\n

\u201cTilstandar\u201d (Conditions) <\/em>is the title of a cycle consisting of four works that can be performed together or individually. Three of these will have their world premieres at the festival. These three new pieces, composed for the early music ensemble C4, vary slightly in instrumentation, but countertenor Daniel S\u00e6ther is the soloist in all of them. The performance suits the setting of the barony well, as these types of instruments were certainly heard at the castle during the baron\u2019s time.<\/p>\n

The theme of \u00abTilstandar\u00bb revolves around an open exploration of humans in relation to nature. Nature encompasses us while also existing independently of us. It offers the opportunity for insight and experience, and provides landscapes that can inspire artistic form. The changing seasons are the foundation of nature\u2019s cycle. It\u2019s easy to associate the course of human life with the transitions of the nature. Nature undergoes the same processes of change every year, yet never in the same way. Our work is inspired by this same cyclical thinking\u2014the idea that states of being can feel both new and familiar at once. Daniel commissioned all three pieces, which each comment in their own way on the states of nature as they appear in shifting seasons, along with reflections on this theme. \u00abTilstandar\u00bb (Part 1) is inspired by spring and the text used is a poem by Ruth Lillegraven: \u201cOpp av jorda\u201d (Up from the Earth).<\/em> Summer (Part 2) is a modern \u00abkulokk\u00bb (cattle call) based on a poem by Erlend N\u00f8dtvedt: \u201ckom linderei kom\u201d (Come, Linderei, Come)<\/em>. Autumn (Part 3) features a poem by Terje T\u00f8rrisplass: \u201cHauste inn\u201d (Harvesting).<\/em><\/p>\n

Winter (Part 4) already exists as \u201cVintersong\u201d (Winter Song)<\/em> from 2017, with texts by Hanne Bramness. \u00abVintersong\u00bb was commissioned by Tora Augestad and Hardanger Musikkfest, and premiered at the festival by Tora together with the Lautten Compagney from Berlin, conducted by Grete Pedersen. Daniel S\u00e6ther has his own version, \u00abVintersong\u00bb version 2 from 2021, which was recorded and released on a CD of the same name by LAWO Classics in 2022. The full cycle of \u00abTilstandar\u00bb with all four movements is well-suited to being performed as a single concert. The longest work, \u00abVintersong\u00bb, includes (almost) all the instruments used in the three new movements.<\/p>\n

The new pieces were composed in 2024 and funded by Fond for lyd og bilde<\/em>. The performance is supported by the Norwegian Society of Composers. I look forward to hearing this music for the first time at the festival.<\/p>\n<\/div>\n

\n
\"C4\"

Three new pieces, composed for the early music ensemble C4<\/p><\/div>\n<\/div>\n<\/div><\/div><\/div>\n

\n
\n

\u00a0Saturday 9 August at 16.00-18.00<\/strong><\/p>\n

Concert in the Great Hall<\/strong><\/a><\/h3>\n

Knut Vaage: \u00abOpp av jorda\u00bb (Up from the Earth)<\/em> (Spring)<\/strong>
\nPremiere. Lyrics: Ruth Lillegraven
\nDaniel S\u00e6ther (countertenor), \u00abEnsemble C4\u00bb<\/em><\/p>\n

\u00abOpp av jorda\u00bb (Up from the Earth)<\/em> is the first part of the \u00abTilstandar\u00bb cycle and is inspired by spring, composed to a poem by Ruth Lillegraven. Several composers have in recent years set Ruth\u2019s poetry to music. I chose this text because it evokes natural moods in a way that sparks thought and invites musical interpretation. The poem describes a new sprout under the soil pushing its way through the earth toward the light. It also portrays nature\u2014with the mountains, the sky, the moon, and the eternal, cyclical motion that spins endlessly: \u201ceverything that happens will happen again.\u201d I wish to thank Ruth for generously allowing me to adapt the poem to fit the musical ideas when such a need arose. The imagery in the poem directly inspired the music, which starts in its deepest register and builds through repeated spinning patterns until the piece fades out in bright timbres. The piece explores some of the sonic possibilities in the instrumentation of countertenor, recorder, baroque lute, and viola da gamba. The latter two instruments, having many strings, are particularly suited to conveying the sense of the endlessly spinning. The piece lasts about 8 minutes.<\/p>\n

Ruth Lillegraven<\/h3>\n

Ruth Lillegraven\u00a0(b.1978) comes from Granvin in Hardanger, where she now lives. She made her debut as an author in 2005 and has since written more than twenty books for both children and adults. Lillegraven is best known for poetry collections such as\u00a0Urd<\/em>,\u00a0Sigd<\/em>\u00a0and\u00a0I am I am I am\u00a0<\/em>and for her three psychological thrillers about Clara Lofthus.\u00a0In 2013 she won the Brage Prize for\u00a0the\u00a0poetry collection\u00a0Urd<\/em>.<\/p>\n<\/div>\n

\n

Opp av jorda<\/em>\u00a0<\/em><\/h3>\n

den evige tida
\nsom garn p\u00e5 spolen
\nsom sirkelen kring
\nm\u00e5nen, rundt og
\nrundt<\/p>\n

for alt som skjer
\nhar skjedd f\u00f8r<\/p>\n

og alt som skjer
\nskal skje igjen<\/p>\n

himmelen
\nfjella, lyset
\nbl\u00e5tt i bl\u00e5tt
\ngr\u00e5tt i gr\u00e5tt
\nv\u00e5tt i v\u00e5tt<\/p>\n

og under jorda
\nei ny spire<\/p>\n

gjennom molda
\ngjennom molda<\/p>\n

opp av jorda<\/p>\n

mot lyset
\nmot lyset<\/p>\n

Ruth Lillegraven<\/em><\/p>\n<\/div>\n<\/div><\/div><\/div>\n

\n
\n

Saturday 9 August at 21.30-22.45 <\/strong><\/p>\n

Concert in Kvinnherad church<\/strong><\/a><\/h3>\n

Knut Vaage: \u00abHauste inn\u00bb (H\u00f8st)<\/strong>
\nPremiere. Lyrics: Terje T\u00f8rrisplass
\nDaniel S\u00e6ther (countertenor), \u00abEnsemble C4\u00bb<\/em><\/p>\n

\u201cHauste inn\u201d (Harvesting)<\/em> is the third part of \u00abTilstandar\u00bb, portraying autumn, and is based on a poem by Terje T\u00f8rrisplass. As I interpret the poem, it carries a melancholic undertone \u2014 a sense of longing for something that has passed. The music begins with a simple tone based on one of the lute\u2019s open strings, which resonates across all the instruments. Variations of this introduction return as interludes twice during the piece, separating different parts of the poem, each time based on two other open strings from the lute\u2019s many possibilities. The goal of the music is to reinforce the poetic expression, which I believe conveys traces of a life once lived. The piece ends in the middle of an attempted escape that (in the music) results in an alternative resonance. The instrumentation is countertenor, recorder, baroque lute, organ, and viola da gamba. The piece lasts about 8 minutes.<\/p>\n

Terje T\u00f8rrisplass<\/h3>\n

Terje T\u00f8rrisplass (b. 1957) lives in Bromma in Hallingdal. He debuted with the poetry collection Eg bygger ikkje byar<\/em> in 2010. Vegemot<\/em> is his fourth poetry collection. T\u00f8rrisplass is a writer, forest worker and poet. In T\u00f8rrisplass’s writing, the lifelong and close relationship with nature is central.<\/p>\n<\/div>\n

\n
\"Daniel

Daniel S\u00e6ther, countertenor<\/p><\/div>\n

Hauste inn<\/em><\/h3>\n

Ei veke etter at himmmelen gjekk tom
\nfor svaler
\nkan eg h\u00f8yre ho i den kl\u00e5re kvelden.<\/p>\n

Skuggen forbi augo, hivet i vengene
\nkvinet i kvart sveip.<\/p>\n

Det er ikkje sant
\nat lufta er utan spor.<\/p>\n

I alle v\u00e5re andlet
\nfinst speglingar
\nav flukt.<\/p>\n

Terje T\u00f8rrisplass<\/em><\/p>\n<\/div>\n<\/div><\/div><\/div>\n

\n
\n

Sunday 10 August at 12.00-15.30 <\/strong><\/p>\n

Concert in the Great Hall<\/a><\/h3>\n

Knut Vaage: \u00abkom lindereid kom\u00bb (Sommer)<\/strong>
\nPremiere. Lyrics: Erlend O. N\u00f8dtvedt
\nDaniel S\u00e6ther (countertenor), \u00abEnsemble C4\u00bb<\/em><\/p>\n

\u201ckom linderei kom\u201d (Come Linderei Come)<\/em> is the second part of \u00abTilstandar\u00bb and depicts summer. The poem is written by Erlend N\u00f8dtvedt, and I choose to interpret it as a modern kulokk (herding call). Perhaps this is the first time we hear a countertenor perform a kulokk in concert? Erlend\u2019s poem includes a stream of imaginative names for cows and bulls. Each name carries its own tone and associations, and I believe the varied names suggest that none of the animals had the same temperament. I have many childhood memories from growing up with animals on our farm at Sunde, and I remember clearly that each animal had its own personality. These nuances are something I try to express through the music. The piece also aims to capture a summery atmosphere through quick leaps in the harpsichord, strings, and sopranino recorder. Cowbells and echo effects are used to evoke the atmosphere of past mountain pastures. The instrumentation consists of countertenor, recorder, harpsichord, percussion, and string quartet. This combination creates a crisp and lively sound that from my opinion suits the summer movement well. I ask that the singer occasionally to sing in a natural baritone register in addition to the bright alto range that is standard for a countertenor. The piece lasts about 8 minutes. The performance is supported by the Norwegian Society of Composers.<\/p>\n

Erlend O. N\u00f8dtvedt<\/h3>\n

Erlend O. N\u00f8dtvedt (b.1984) debuted with the poetry collection Harudes<\/em> in 2008. Since then, he has published the poetry collections Bergens beskrivelse<\/em> (2011), Trollsuiten <\/em>(2014), Slekter<\/em> (2019), and Olav Nygards seng<\/em>\u00a0<\/em>(2023) – and the novels Vestlandet<\/em> (2017) and Mordet p\u00e5 Henrik Ibsen<\/em> (2021). From the first book, N\u00f8dtvedt has excited the critics, and he is considered one of the central authors of his generation. N\u00f8dtvedt’s writing style is both distinctive, energetic, wild and bewitching.<\/p>\n<\/div>\n

\n

 <\/p>\n

kom linderei kom<\/em><\/h3>\n

kom linderei kom<\/p>\n

kom heimros og bingros
\nskogreid og myrkreid
\nkom epleros og liljegrein
\nkom snurikoll sprakur
\nog snurikolla
\nkom ylva sylva
\nkom duna og dokka
\nrosa og sokka
\nkom leda og langa
\ntea og tanga
\ndumiblaa sylvitaa
\nbrusi og krusi
\nduni-dokka rosi-sokka
\nkom kniplegeit og lukla
\nkom mj\u00f8dhumla mi
\nkom dalarosi<\/p>\n

kom linderei kom<\/p>\n

Erlend O. N\u00f8dtvedt<\/em><\/p>\n<\/div>\n<\/div><\/div><\/div>\n

\n
\n

Knut Vaage<\/h3>\n

Knut Vaage is a full-time composer living in Bergen, Norway, where he majored in piano and composition at the Grieg Academy. He has worked with multiple styles of music, although with a main emphasis on improvisational and contemporary music, and in several projects has explored the boundaries between improvisation and composition. Developing a hybrid acoustic\/electronic sound is another important parameter in his music, and he has participated in several collaborations between contrasting art forms.<\/p>\n

Vaage’s output ranges from symphonic works and opera to solo pieces and his works are often performed at concerts and festivals both domestically and internationally. These include the Bergen International Festival, Ultima, Borealis, Ilios, Grec Festival (Barcelona), Prague Spring Festival, Nordic Music Days in Stockholm and Reykjavik, and in Carnegie Hall. He has provided full-scale opera productions at the Norwegian National Opera & Ballet, the Ultima Festival, Bergen National Theatre, and NOSO in Troms\u00f8, as well as internationally at Phalztheater, Stadttheater Giessen, Theatre National Luxembourg (TNL), and at the Armel Opera Festival in Hungary. Vaage was nominated for the Nordic Council Music Prize for 2022 with his work “Hybrid Spectacle\u00bb. He was awarded The Lindeman Prize for 2024.<\/p>\n

Meir info p\u00e5 www.knutvaage.com<\/a><\/p>\n<\/div>\n

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