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  • 100 Hardanger Tunes Op 151 / Suites 2 & 5
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100 Hardanger Tunes Op 151 / Suites 2 & 5

5 customer reviews

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Audio CD, March 19, 2002
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Frequently Bought Together

100 Hardanger Tunes Op 151 / Suites 2 & 5 + Tveitt: Piano Concerto No. 4, Op. 130 - Aurora Borealis / Variations on a Folksong from Hardanger, for 2 Pianos and Orchestra + Geirr Tveitt: A Hundred Hardanger Tunes, Suites Nos. 1 & 4
Price for all three: $28.58

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Editorial Reviews


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Songs from this album are available to purchase as MP3s. Click on "Buy MP3" or view the MP3 Album.
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Product Details

  • Audio CD (March 19, 2002)
  • Number of Discs: 1
  • Label: Naxos
  • Run Time: 72 minutes
  • ASIN: B00005Y0MP
  • Average Customer Review: 4.8 out of 5 stars  See all reviews (5 customer reviews)
  • Amazon Best Sellers Rank: #215,468 in Music (See Top 100 in Music)

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11 of 11 people found the following review helpful By Joshua Grasso on November 25, 2002
Format: Audio CD
This is a simply wonderful disc, featuring two colorful, brilliantly orchestrated, evocative works. The suites have a lot in common, though each stands out (and indeed, they are quite distinguishable from suites 1 and 4, previously released on Naxos). The Fifteen Mountain Songs, Suite No.2, captures an earthy, bawdy, yet unimistakably supernatural world. They provide a fitting soundtrack to any collection of Scandinavian folk tales, with subjects ranging from Mountain cattle-calls (a particularly haunting piece) to "Beard ablaze," which depicts a humorous folk anecdote. The orchestration is phenomenal, hardly the monochromatic textures of Grieg, but much closer to Ravel at his finest--Daphnis et Chloe, for example. Listen to track number 9, "Do you hear the song in the waterfall's roar?" where Tveitt conjures up a sublime orchestral waterfall, yet manages to balance it carefully enough so that, if you listen carefully, a haunting melody emerges behind it.
Troll Tunes, Suite no.5, conjures up the world of fairy tales and magic more explicitly, but this is not your typical elvish fair. His sound world is much darker, yet infinitely more "magical" in the best sense. Each piece brings a new texture, a new mood, and a new surprise. A personal favorite is track number 20, "the Changeling," which grows in intensity and orchestral effects.
Again, Naxos really deserves credit for unearthing such wonderful music. Its neglect is astonishing, since they would make wonderful showpieces for any orchestra, as the Royal Scottish National Orchestra proves. Bjarte Engeset's conducting is first rate, and the sounds he coaxes out of his winning orchestra will remain a treasured CD for quite some time. If you're curious about Tveitt, enjoy Scandinavnian music, and have a penchant for fairy tales, this might be the disc for you.
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8 of 8 people found the following review helpful By Jeff Dunn on September 28, 2002
Format: Audio CD Verified Purchase
Tveitt will soon become a phenomenon like Gorecki. But his music is better. Unique. Conservative and radical. Highly sophisticated and naively primitive. I was bowled over by Tveitt's orchestrations, and the depth of his simplicity.
The Suite #2 is the best, an absolute must for lovers of the rough outdoors. Tveitt's depiction of a waterfall in one number must be heard to be believed. The performance and sonics are superb. At Naxos prices--this is a free diamond.
Do not hesitate!
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8 of 9 people found the following review helpful By Thomas F. Bertonneau on December 11, 2002
Format: Audio CD
I strongly recommend this disc. One encounters the odd name of Geirr Tveitt (1908-1981) with some frequency nowadays, as producers of "classical music" on compact disc explore the roads less traveled of modern repertory. Tveitt, a Norwegian, shares a musical language with two of his landsmen-contemporaries, Eivind Groven and Harald Saeverud. Each draws immediately on the Norse folk-idiom; none is aggressively modern in the sense that he writes deliberately ugly music although Saeverud absorbed certain rhythmic gestures from Stravinsky and of the three he dared the most in his style (because he dared the most acerbic harmonies). Tveitt and Groven remained tied to a national romanticism stemming from Grieg, Halvorsen, and Sinding; they learned from Bartok how to exploit the motifs or constituent "germs" inherent in a folk-melos to create real development in convincing large-scale musical structures. Both exploited the same niche within Norwegian folk music, the deeply seated and melodically rich tradition associated with the region around Hardanger Fjord, the folklore heart of the country. In scores like "Hjalarljod" ("Shouting from the Hills") and "Brudgommen" ("The Bridegroom") Groven can make the string section of an orchestra sound like a gigantic Hardanger fiddle. The prolific Tveitt went Groven one better and wrote two concertos (recently recorded by BIS) especially for this peculiarly Norwegian instrument. He also wrote a series of orchestral "Suites" based on similar regional material under the collective title "One Hundred Hardanger Tunes." Like Groven, Tveitt often uses the orchestra to imitate the sounds of the folk instruments.Read more ›
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2 of 2 people found the following review helpful By G.D. VINE VOICE on May 29, 2009
Format: Audio CD
The story about the disaster that hit Geirr Tveitt in the early seventies, when a fire at his farm consumed most of his huge output (some say about 75 % of it, but several works once presumed lost have resurfaced later) leaving the composer a broken man for the rest of his life, is by now rather well known. Both Naxos and BIS have recorded the suites nos 1, 2, 4 and 5 from the Hundrade Hardingtoner ("100 Folk Tunes ..." is something of a mistranslation, since "hundrade" is apparently used as a generic term for "many" - there isn't, and was never intended to be, exactly 100 of them), and it should hence be mentioned that the missing suite no. 3 was (probably) not a casualty of that fire - it has probably never existed at all. If you don't know them already, I urge you to rush out and acquire them, for these suites contain a selection of outstanding musical gems, masterpieces even, and while the performances on BIS and Naxos have different virtues (the BIS ones coming across as slightly preferable, perhaps, but also more expensive), they are uniformly excellent, and no one who acquires either will come away disappointed.

The "Folk Tunes" are, at least for the most part, Tveitt's own, superbly scored and full of life, vitality and color. Stylistically, and as a pointer to those who aren't familiar with the composer, a first approximation might perhaps be a cross between Grieg and Bartók, with some Ravel-like and Szymanowski-like otherworldliness thrown in - but Tveitt is really his own man, and the music has a very distinctive character.
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