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Erlend Apneseth is one of Norway\u2019s foremost Hardanger fiddle players and folk musicians. After being widely recognized with the award-winning and critically acclaimed Erlend Apneseth Trio, he now returns with an acoustic soloalbum. This is the first time since his debut album \u201cBlikkspor\u201d (2013) that he has put the soloistic performance in focus, and this time the unique acoustics in Emmanuel Vigeland\u2019s Mausoleum sets the scene for his improvisations and compositions.<\/p>\n
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\u201cThe Hardanger fiddle is traditionally a soloistic instrument. For me, one of the most fascinating things about the instrument is its ability to fill a whole room with sound all by itself. Even though I\u2019ve been working in an electro-acoustic universe the last years, I\u2019ve never left the acoustic approach to the Hardanger fiddle, and I now felt the time had come to do something all alone again.\u201d<\/p>\n
Even though Apneseth is rooted in traditional music, he has immersed himself in improvisation and alternative sonic-and pizzicato-technics on the Hardanger fiddle, which makes him stand out with his very own musical expression. After incessantly exploring his instrument for many years, this album can be seen as a personal catalogue of the Hardanger fiddle\u2019s sonic possibilities:<\/p>\n
\u201cI see this now as the most personal album I\u2019ve done so far. Most of the titles therefore reflects my own life\u201d.<\/p>\n
The album title \u201cNova\u201d underlines Apneseth\u2019s colourful approach to music:<\/p>\n
\u201cIt\u2019s a title that covers the different aspects of the album. The sound of the room gives it all an almost cosmic character, a feeling of being levitated or in another sphere. To me it is first and foremost a symbol of the human being. In China they called them guest stars: small newly arisen lights on the night sky, visible for a short time, then receding into its original form. Also, where I come from \u201cnova\u201d is the term for a mountain peak, or the corners that bind together the wooden house I live in.\u201d<\/p>\n
Erlend Apneseth has released eight albums, received numerous awards, among them \u201cGrappas Debutantpris\u201d and \u201cGammleng-prisen\u201d, and no less than five nominations for the Norwegian Grammy\u2019s. In 2019 he received the Norwegian Grammy\u2019s award in the Open Cathegory for his album \u201cSalika, Molika\u201d, with Erlend Apneseth Trio and Frode Haltli. The album also received the NOPA-award and was nominated for the Nordic Music Prize. Apneseth has written commissioned works for Kongsberg Jazzfestival, F\u00f8rdefestivalen and Ultima, and toured extensively in Europe the past years. Since 2021 he has collaborated with the composer \u00d8rjan Matre on new works for Hardanger Fiddle and The Norwegian Chamber Orchestra.<\/p>\n
His latest solo project \u201cFragmentarium\u201d(2020) received Folkelarmprisen and was praised by critics. Arild R. Andersen (Aftenposten\u201d described it like this: \u201cIt\u2019s the traditional music demonstrating its ever lasting relevance, cloaked in the present time\u2019s tasteful approach. Erlend Apneseth makes folk music important again\u201d.<\/p>\n
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Erlend Apneseth releases his first solo album in 9 years <\/strong>– a personal catalogue exploring the sonic possibilities of the Hardanger fiddle <\/strong><\/p>\n