*!0E1I8I-fbfhcc! e q 76 - the Nordic Sound

ENSEMBLE 96KJETIL ALMENNING

“Come away, O human child! To the waters and the wild With a faery, hand in hand,

For the world's more full of weeping than you can understand.”

1. SOV, SOV, LITEN GUTFOLK SONG

2. DIE STIMME DES KINDESJAAKKO MÄNTYJÄRVI (1963–)

3. BÅNSULLFOLK SONG FROM ØSTERDALEN

4. WIE EIN KIND I – WIIGEN-LIEDPER NØRGÅRD (1932–)

5. BIA, BIA LITE BÅNFOLK SONG FROM VOSS

6. WIE EIN KIND II – FRÜHLINGS-LIEDPER NØRGÅRD (1932–)

ENSEMBLE 96 KJETIL ALMENNINGNIDAROS STRING QUARTET

7. BIE, BIE LITE BÅNFOLK SONG FROM TELEMARK

8. THE STOLEN CHILDMARCUS PAUS (1979–)

9. BÅNSULL FRA TELEMARKFOLK SONG

10. WIE EIN KIND III – TRAUERMARSCH MIT EINEM UNGLÜCKSFALLPER NØRGÅRD (1932–)

11. BYSJAN, BYSJAN LITE BÅNFOLK SONG FROM ØSTERDALEN

THE GRAMMY NOMINATED CHAMBER CHOIR ENSEMBLE 96 SINGS CONTEMPORARY LULLABIES AND NORWEGIAN CRADLE SONGS.

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2L-076-SABD made in Norway 20©10 Lindberg Lyd AS

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1. SOV, SOV, LITEN GUT 2:01FOLK SONG, ARR. FRANK HAVRØY

2. DIE STIMME DES KINDES 4:45JAAKKO MÄNTYJÄRVI (1963–)

TEXT: NIKOLAUS LENAU (1802–1850)

3. BÅNSULL 2:06FOLK SONG FROM ØSTERDALEN, ARR. FRANK HAVRØY

4. WIE EIN KIND I – WIIGEN-LIED 3:38PER NØRGÅRD (1932–)

TEXT: ADOLF WÖLFLI

SOLOISTS: SIV PAUS BROVOLD, INGVAR ÖRN ÞRASTARSON

5. BIA, BIA LITE BÅN 3:43FOLK SONG FROM VOSS, ARR. FRANK HAVRØY

6. WIE EIN KIND II – FRÜHLINGS-LIED 7:35PER NØRGÅRD (1932–)

TEXT: RAINER MARIA RILKE (1875–1926)

SOLOISTS: LYDIA ROSENBERG ULLEBERG, TORFINN KLEIVE

7. BIE, BIE LITE BÅN 2:23FOLK SONG FROM TELEMARK, ARR. FRANK HAVRØY

8. THE STOLEN CHILD 10:58MARCUS PAUS (1979–)

TEXT: WILLIAM BUTLER YEATS (1865–1939)

WITH NIDAROS STRING QUARTET

SOLOISTS: INGRID TRØYM LEREIM, INGER HONERØD

9. BÅNSULL FRA TELEMARK 2:28FOLK SONG, ARR. FRANK HAVRØY

10. WIE EIN KIND III – TRAUERMARSCH MIT EINEM UNGLÜCKSFALL 2:05

PER NØRGÅRD (1932–)

TEXT: ADOLF WÖLFLI (1864–1930)

SOLOIST: HÅVARD HEGRE

11. BYSJAN, BYSJAN LITE BÅN 2:29FOLK SONG FROM ØSTERDALEN, ARR. FRANK HAVRØY

KIND -s ~ h 3 (kvæð.) barn, avkom, hon føddi tað lítla ~

(oftari skrivað kinn)

(Føroysk orðabók)

”Bli med oss, å menneskebarn! Til vannene og villmarken med en fe, hånd i hånd, for det finnes mer sorg i verden enn du kan forstå.”

Det finnes forbausende lite musikk for kor og strykekvartett. Ensemble 96 gikk derfor til Mar-cus Paus med en bestilling på et verk for denne konstellasjonen. Komponisten fikk fritt velge tekst. Ideen til platen vokste frem da Marcus in-spirert kom tilbake og fortalte om diktet om det stjålne barnet.

Plateprosjektet ble tidlig hetende KIND. Ordet favner på ulike språk både det barnlige og det barnslige, i tillegg til at det sier noe om venn-lighet og om trøst. Prosjektets undertittel var «om barn, for voksne». Slik synes vi det endelige resultatet har blitt.

KIND har, i likhet med Ensemble 96, fokus på nyere norsk og nordisk musikk for kor. Per Nørgård og Jaakko Mäntyjärvi er allerede klassikere for et stadig større publikum, mens Marcus Paus representerer en ung generasjon norske komponister med en økende interesse for kormediet.

De nyere verkene på platen har alle tekster med drag av vemod, redsel eller uro tilknyttet barn-dommen. Folketonene er et tappert forsøk på å gi trøst i denne ubarmhjertige verden.

“Come away, O human child! To the waters and the wild With a faery, hand in hand,For the world's more full of weeping than you can understand.”

There is surprisingly little music for choir and string quartet. Ensemble 96 therefore decided to commission Marcus Paus to write a work for that particular constellation. He was given freedom of choice regarding a text to set; the idea behind this recording emerged when Marcus returned full of inspiration having read Yeats’ poem about the stolen child.

Early on in the process the project was given the name KIND. The word embraces concepts of childlikeness and childishness in different lan-guages, as well as suggesting friendliness and consolation. The project’s subtitle was “about children, for adults” – which is very much how we feel the final result has turned out.

In keeping with Ensemble 96’s main focus, KIND presents modern Norwegian and Nordic choral music. Per Nørgård and Jaakko Mäntyjärvi are already considered classics by a rapidly increas-ing audience, while Marcus Paus represents a younger generation of Norwegian composers with a growing interest in the choral medium.

The more recent works on the disc set texts all of which have a certain melancholy, fear or unrest

Først skrev finske Jaakko Mäntyjärvi musikken til «Die Stimme des Kindes» uten ord. Etter en tid fant han Nikolaus Lenaus dikt, som sammen-falt med komponistens tanke om stemning og tekstur. Musikk og tekst lyder som en idyllisk vuggevise, men er også melankolsk og drama-tisk. En urolig voksen finner trøst i barnets uskyl- dige søvn og stille smil.

Danske Per Nørgård lot seg, lik mange andre kunstnere, inspirere av den schizofrene Adolf Wölflis kunst. Wölflis liv og verker danner et storslagent vitnesbyrd om det menneskelige sjelsliv. Satt sammen med Rainer Maria Rilkes dikt om våren gir de tre satsene i «Wie ein Kind» oss et sterkt møte med flere barndomsminner. Noen av dem synes å være gode, andre langt mindre behagelige.

Norske Marcus Paus’ verk «The Stolen Child» er et eventyr med enkle, men på samme tid komplekse virkemidler. I lekende samspill med Yeats’ vakre dikt tar verket lytteren med langt av gårde, dit feene lokker det lille barnet bort fra all sorg i verden.

Frank Havrøy har arrangert en rekke norske bån- suller og vuggesanger. De tidløse folketonene taler direkte og ærlig til oss, og de elegante bearbeidelsene gir melodiene ytterligere en dimensjon.

”Barnet, som ikke aner at jeg beveget lytter, har velsignet mitt hjerte med dunkle lyder …”

KJETIL ALMENNING

linked to childhood. The folk songs are a brave at-tempt to offer consolation in a remorseless world.

The Finnish composer Jaakko Mäntyjärvi first wrote the music to “Die Stimme des Kindes” without words. After some time he came across Nikolaus Lenau’s poem in which Mäntyjärvi found moods and textures that corresponded with his own ideas. The piece sounds like an idyl-lic lullaby, yet it is also melancholic and dramatic. An uneasy adult finds consolation in the innocent sleep and gentle smile of a child.

Like many other artists the Danish composer Per Nørgård found inspiration in the work of the schizophrenic writer Adolf Wölfli whose life and works are a magnificent testimony to human spiritual life. Combined with Rainer Maria Rilke’s poem about spring the three movements of “Wie ein Kind” present a powerful encounter with childhood memories. Some of them are pleasant to recall, others less so.

In "The Stolen Child" the Norwegian composer Marcus Paus has created a fairytale using simple, yet at the same time complex, means. Through its playful interaction with Yeats’ poem the work takes us far afield to where the fairies lure the little child away from all the world’s grief.

Frank Havrøy has arranged several traditional Norwegian lullabies for choir. These timeless folk songs speak directly to us, and Havrøy’s elegant arrangements give them an extra dimension.

“The child, unaware of my poignant listening,Hath blessed my heart with sombre sounds…”

KJETIL ALMENNING

NIDAROS STRYKEKVARTETTNidaros Strykekvartett (NSK) ble startet i Trond-heim i 2003 og består av Elisabeth Rolfsjord Uddu, Ola Lindseth, Ragnhild Torp og Synnøve Volden. De første to årene gjennomførte kvar-tetten diplomstudier i kammermusikk ved Kung-liga Musikhögskolan i Stockholm.

NSK utforsker gjerne nye genre og har bak seg samarbeid med bl.a. Sofia Gubaidulina, Mark-Anthony Turnage, Odd Nordstoga og Sissel Kyrkjebø. NSK har ellers vært å høre på både Trondheim Kammermusikkfestival,  Vinterfest-spill i Bergstaden, kammermusikkfestivaler i Umeå, Karlskrona, Gävle og Stockholm samt Kibnebfestivalen.

Kvartetten ble av Trondheim Kammermusikalske Selskap kåret til Årets Ensemble 2008 og mot-tok da Olaf T. Ranums kammermusikkpris.

KJETIL ALMENNING Kjetil Almenning har bachelorgrad i kirkemusikk fra Norges musikkhøgskole og diplomeksamen i kordireksjon fra Kungliga Musikhögskolan i Stockholm. Almenning dirigerte vokalensem-blet Ginnungagap fra 2001 til 2005. Han har også vært dirigent for Norges ungdomskor og Vestoppland Kammerkor, og som sanger og dirigent har han jobbet med ensembler som Det Norske Solistkor, Barents International Chamber Choir, Eric Ericsons Kammarkör og Sveriges Radiokör. Almenning tiltrådte stillingen som dirigent for Ensemble 96 i august 2007. I november 2009 vant han Eric Ericson Award, en prestisjefylt internasjonal konkurranse for unge kordirigenter.

I august 2009 tiltrådte Almenning stillingen som domkantor i Bergen domkirke menighet, og våren 2010 var hans siste sesong som dirigent for Ensemble 96.

NIDAROS STRING QUARTETNidaros String Quartet was founded in 2003 in Trondheim and its members today are Elisabeth Rolfsjord Uddu, Ola Lindseth, Ragnhild Torp and Synnøve Volden. During the first two years of its existence the quartet took a diploma course in chamber music at the Royal College of Music in Stockholm. The quartet likes to explore new genres and has previously collaborated with Sofia Gubaidulina, Mark-Anthony Turnage, Odd Nordstoga and Sis-sel Kyrkjebø, among others. The quartet has per-formed at chamber music festivals in Trondheim and Røros, and in Umeå, Karlskrona, Gävle and Stockholm in Sweden, and at the Kibneb festival. Trondheim Chamber Music Society awarded Ni-daros String Quartet the prize as Ensemble of the Year 2008, for which they received the Olaf T. Ranum chamber music award.

KJETIL ALMENNING Kjetil Almenning holds a bachelor’s degree in church music from the Norwegian Academy of Music and a postgraduate diploma in choral conducting from the Royal College of Music in Stockholm. Almenning was conductor of the vo-cal ensemble Ginnungagap from 2001 to 2005, and he has also conducted the Norwegian Youth Choir and Vestoppland Chamber Choir. As a singer and conductor he has worked with the Norwegian Soloists’ Choir, the Eric Ericson Chamber Choir, and the Swedish Radio Choir. Almenning became conductor of Ensemble 96 in August 2007. In November 2009 he won the Eric Ericson Award, a prestigious international com-petition for young choral conductors.

In August 2009 Kjetil Almenning took over the position of director of music at Bergen cathedral, and the spring season of 2010 was his last as conductor of Ensemble 96.

KAMMERKORET ENSEMBLE 96

Kammerkoret Ensemble 96 holder til i Oslo, til-hører eliten av norske vokalensembler og har markert seg med konserter, urfremføringer og CD-utgivelser. Koret har nyere musikk som sats-ingsområde, mottar ensemblestøtte fra Norsk Kulturråd og er også tildelt midler fra forsøks-ordningen for profesjonalisering av kor i 2009 og 2010.

Ensemble 96s forrige CD, Immortal Nystedt (2L), ble nominert til to Grammy-priser, Best Surround Sound Album og Best Choral Perfor-mance. I september 2007 mottok Ensemble 96 sammen med sin tidligere dirigent Øystein Fe-vang Korprisen 2007. Ensemble 96 og dirigent Kjetil Almenning var Norges representasjonskor under Nordisk-Baltisk korfestival i august 2008. Fra høsten 2010 er Anine Kruse Skatrud korets dirigent.

THE CHAMBER CHOIR ENSEMBLE 96

The chamber choir Ensemble 96 is based in Oslo and belongs to an elite group of Norwegian vocal ensembles, having gained its reputation through many critically acclaimed concerts, premier per-formances and CD recordings. The group has a particular focus on contemporary music and receives financial support from the Arts Council Norway, and was also one of the recipients of a grant for a pilot project in 2009 and 2010 for the professionalization of choirs in Norway.

Ensemble 96’s previous CD Immortal Nystedt (2L) was nominated for two Grammy awards, Best Surround Sound Album and Best Choral Performance. In September 2007 Ensemble 96 and its previous conductor Øystein Fevang re-ceived the Choral Award in Norway. The choir, with conductor Kjetil Almenning, represented Norway at the Nordic-Baltic Choral Festival in August 2008. Anine Kruse Skatrud has been con-ductor of Ensemble 96 since the autumn of 2010.

SANGERESOPRAN 1:

Siv Paus Brovold, Beate Kronen, Lydia Rosenberg Ulleberg

SOPRAN 2: Eli Feiring, Inger Honerød, Barbro Sæther

ALT 1: Camilla Cockman, Ingrid Trøym Lereim,

Hilde Refvem

ALT 2: Anne Opedal, Kjersti Evju Ludvigsen, Kirsti Vogt

TENOR 1: Torfinn Kleive, Ingvar Örn Þrastarson

TENOR 2: Thorgrim Røed, Håvard Hegre, Knut Ivar Solnes

BASS 1: Osvald Fossholm, Roar Meland

BASS 2: Magne Ytterlid, Iver Waage,

Henrik Sand Dagfinrud (spor 4, 5, 6, og 11), Bram Janssens (spor 1, 2, 3, 7, 8, 9 og 10)

SINGERSSOPRANO 1:

Siv Paus Brovold, Beate Kronen, Lydia Rosenberg Ulleberg

SOPRANO 2: Eli Feiring, Inger Honerød, Barbro Sæther

ALTO 1: Camilla Cockman, Ingrid Trøym Lereim,

Hilde Refvem

ALTO 2: Anne Opedal, Kjersti Evju Ludvigsen, Kirsti Vogt

TENOR 1: Torfinn Kleive, Ingvar Örn Þrastarson

TENOR 2: Thorgrim Røed, Håvard Hegre, Knut Ivar Solnes

BASSO 1: Osvald Fossholm, Roar Meland

BASSO 2: Magne Ytterlid, Iver Waage,

Henrik Sand Dagfinrud (track 4, 5, 6, and 11), Bram Janssens (track 1, 2, 3, 7, 8, 9 and 10)

SOV, SOV, LITEN GUTUKJENT OPPRINNELSE

Sov, sov, liten gut.Sola skin i høgste nut,

enno ligge kydna.Sov, sov, liti taus.

Sola skin i Espehaug,enno ligge kydna.

DIE STIMME DES KINDES

Ein schlafend Kind! O still! In diesen Zügenkönnt ihr das Paradies zurückbeschwören;es lächelt süß, als lauscht' es Engelschören,

den Mund umsäuselt himmlisches Vergnügen.

O schweige, Welt, mit deinem Lauten Lügendie Wahrheit dieses Traumes nicht zu stören!

Laß mich das Kind im Traume sprechen hören,und mich, vergessend, in die Unschuld fügen!

Das Kind, nicht ahnend mein bewegtes Lauschen,mit dunklen Lauten hat mein Herz gesegnet,

mehr als im stillen Wald des Baumes Rauschen.

Ein tief'res Heimweh hat mich überfallenals wenn es auf die stille Heide regnet,

wenn im Gebirg' die fernen Glocken hallen.

Nikolaus Lenau

SLEEP, SLEEP, LITTLE BOYUNKNOWN ORIGIN

Sleep, sleep, little boy.The sun shines upon the highest peak,the cows are still at rest.Sleep, sleep, little girl.The sun shines upon Espehaug,the cows are still at rest.

THE VOICE OF THE CHILD

A child asleep! O still! In these featuresYe could swear that Paradise has returned;

He sweetly smiles, as if hearing angel choirs,About his moth a heavenly joy is playing

O, be silent, world, with thy blaring lies, Do not disturb the truth of this sleep!

Let me hear the child speak in a dreamAnd retreat, oblivious, into innocence!

The child, unaware of my poignant listening,Hath blessed my heart with sombre sounds,More than the rustling of trees in the silent forest

A homesickness has come over meDeeper then when it rains in the silent heathOr when the distant bells chime in the mountains

Translation: Jaakko Mäntyjärvi

BARNETS STEMME

Et sovende barn! Å, stille! I disse dragenekunne du sverge på at Paradiset er vendt tilbake;det smiler søtt, som om det hører englekor,rundt munnen leker en himmelsk glede.

Vær stille, verden, med dine høyrøstede løgnerikke forstyrr disse drømmenes sannhet!La meg høre barnet snakke i søvne,gli inn i uskyldigheten og glemme meg selv!

Barnet, som ikke aner at jeg beveget lytter,har velsignet mitt hjerte med dunkle lyder,mer enn trærne som suser i den stille skogen.

En hjemlengsel har kommet over meg,dypere enn når det regner på den stille hedenog når de fjerne klokkene klinger i fjellene.

KIND, das; -[e]s, -er [mhd. kint, ahd. kind, eigtl. = Gezeugtes,Geborenes, subst.

2. Part. eines Verbstammes mit der Bed. »gebären, erzeugen«]:

1. a) noch nicht geborenes, gerade od. vor noch nicht langer Zeit zur Welt gekommenes menschliches Lebewesen;

Neugeborenes, Baby, Kleinkind: ein gesundes, kräftiges, neugeborenes, tot geborenes, ungewolltes, unerwünschtes, lang ersehntes K.; das K. im Mutterleib; ein K. wird geboren,

kommt zur Welt; wie soll das K. heißen?; das K. ist ein Mädchen, ein Junge; ein K. [von jmdm.] haben wollen; ein K. zeugen, erwarten, zur Welt bringen, austragen, abtreiben; sie bekommt, kriegt gerade ihr K.; sie bekommt, kriegt ein K. (ist schwanger); das K. füttern, stillen, trockenlegen, wickeln; er

ist der Vater ihres -es; sie wurde von einem gesunden K. entbunden; …

(Duden - Deutsches Universalwörterbuch)

WIE EIN KIND: I – WIIGEN-LIED

1) G’ganggali ging g’gang, g’gung g’gung!

Giigara-Lina Wiiy Rosina.G’ganggali ging g’gang, g’gung g’gung!

Rittare-Gritta, d’Zittara witta.G’ganggali ging g’gang, g’gung g’gung!

Giigaralina, siig R a Fina.G’ganggali ging g’gang, g’gung g’gung!

Fung z’Jung, chung d’Stung.

Adolf Wöfli

LIKE A CHILD: I – LULLABY

SOM ET BARN: I – VUGGEVISE

BIA, BIA LITE BÅNFRA VOSS

Bia, bia lite bån, å bia lite båne.Å fuglen sit på bjørkekvist og syng så ven ei vise,men den vesle guten min han må få noko av rise.

SLEEP, SLEEP LITTLE CHILDFROM VOSS

Sleep, sleep little child, o sleep little child.A bird sits in the birch tree singing a pretty song,but I must take a switch to my little boy.

2)Grief affects everybody, no-one is exempt,grief strikes us down indiscriminately.

Ole Sarvig, from Per Nørgård’s opera Siddharta

BÅNSULLFRA ØSTERDALEN

Sulla meg litt du mamma mi,ska du få snor i trøya di.

Vil du ha gule? Vil du ha blå?Vil du ha blanke ska du det få,

på trøya di, du mamma mi.

LULLABYFROM ØSTERDALEN

Sing me a lullaby, mother,and you shall have a ribbon for your dress.Do you want yellow or blue?A bright ribbon is yours if you like,mother, for your dress.

2)Sorgen rammer alle, ingen slipper,i fleng slår sorgen oss ned.

Ole Sarvig, fra Per Nørgårds opera Siddharta

2)Sorgen rammer alle,

ingen slipper,i flæng slår sorgen os ned.

Ole Sarvig, fra Per Nørgårds opera Siddharta

KIND subst. –en –er • mjuk del av ansiktet vid sidan av näsa och mun: han smekte henne ömt på ~en; han kysste sin mor på ~en; med blossande

~er; smilgropar i ~erna; tårarna rullade över hennes ~er; ibl. med tanke på hela ansiktet: blek om kinden

(Svensk ordbok, Norstedts)

WIE EIN KIND: II – FRÜHLINGSLIED

Frühling ist wiedergekommen. Die Erde ist wie ein Kind, daß Gedichte weiß,

viele, o viele . . . . Für die Beschwerde langen Lernens bekommt sie den Preis.

Streng war ihr Lehrer. Wir mochten das Weiße an dem Barte des alten Manns.

Nun, wie das Grüne, das Blaue heiße, dürfen wir fragen: sie kanns, sie kanns!

Erde, die Frei hat, du glückliche, spiele nun mit den Kindern. Wir wollen dich fangen,

fröhliche Erde. Dem Frohsten gelingts.

O, was der Lehrer sie lehrte, das Viele, und was gedruckt steht in Wurzeln und langen

schwierigen Stämmen: sie singts, sie singts!

Rainer Maria Rilke

LIKE A CHILD: II – SPRING SONG

Spring has returned. The earthis like a child that knows many poems,

many, o, many … For the burdenof long learning she wins the prize.

Her teacher was strict. We liked the whiteof the old man’s beard.

Now, what shall we call the green, the blue,we venture to ask: she knows, she knows!

Earth, you have freedom and fortune, playwith the children. We will try to catch you,happy earth. The happiest ones succeed.

O, what her teacher taught her, so much,and all that can be read in roots and tallheavy trunks: she sings, she sings!

SOM ET BARN: II – VÅRSANG

Våren er kommet tilbake. Jorden er som et barn som kjenner mange dikt,mange, å, mange … For besværet med den lange læretiden får hun premien.

Streng var hennes lærer. Vi likte det hvitei den gamle mannens skjegg. Nå, hva skal vi kalle det grønne, kalle det blå,våger vi å spørre: Hun vet det, hun vet det!

Jord, som nå har fri, du heldige, leknå med barna. Vi vil fange deg,lykkelige jord. De gladeste lykkes.

Å, det hennes lærer lærte henne, så mye,og det som kan leses av røtter og lange tunge stammer: hun synger, hun synger!

BIE, BIE LITE BÅNFRA TELEMARK

Bie, bie lite bån, gryta heng pi jarnet.Koke fullt tå rømmegrøt åt det vetle barnet.

Rømsoll, bjørkoll. No skal barnet legg seg te å sova.

HUSH, HUSH LITTLE CHILD FROM TELEMARK

Hush, hush little child, the pot is on the fire.Full of porridge for the tiny child.Sweet pudding, birch pudding. Now the child lays down to sleep.

KIND substantiv, fælleskønBøjning -en, -er, -erne

Oprindelse oldnordisk kinn, gotisk kinnus, latin gena.Betydninger hver af ansigtets to bløde sideflader,

under øjet og ved siden af næse og mund. Eksempler indfaldne kinder  blussende/røde

kinder et kys på kinden  kysse nogen på kinden klappe/ae nogen på kinden  danse kind mod kind.

(Den danske ordbog)

THE STOLEN CHILD

Where dips the rocky highlandOf Sleuth Wood in the lake,

There lies a leafy islandWhere flapping herons wake

The drowsy water rats;There we've hid our faery vats,

Full of berrysAnd of reddest stolen cherries.

Come away, O human child!To the waters and the wildWith a faery, hand in hand,

For the world's more full of weeping than you can understand.

Where the wave of moonlight glossesThe dim gray sands with light,

Far off by furthest RossesWe foot it all the night,Weaving olden dances

Mingling hands and mingling glancesTill the moon has taken flight;

To and fro we leapAnd chase the frothy bubbles,

While the world is full of troublesAnd anxious in its sleep.

Come away, O human child!To the waters and the wildWith a faery, hand in hand,

For the world's more full of weeping than you can understand.

DET STJÅLNE BARNET

Der det steinete høylandeti Sleuth-skogen senker seg ned i innsjøen,ligger en grønn øyder flaksende hegrer vekkerde søvnige vannrottene; Der har vi feer gjemt våre kar,fulle av bærog av de rødeste, stjålne kirsebær.Bli med oss, å menneskebarn!Til vannene og villmarkenmed en fe, hånd i hånd,for det finnes mer sorg i verden enn du kan forstå.

Der bølgen av måneskinn gjør den dunkle grå sanden blank, lengst der ute ved Rossesdanser vi hele natten,vever gamle trinn,gir hverandre hender og blikk til månen har flyktet;Vi springer frem og tilbakeog jakter på de skummende boblene,mens verden plages og er engstelig i søvnen.Bli med oss, å menneskebarn!Til vannene og villmarkenmed en fe, hånd i hånd,for det finnes mer sorg i verden enn du kan forstå.

Where the wandering water gushesFrom the hills above Glen-Car,

In pools among the rushesThat scarce could bathe a star,

We seek for slumbering troutAnd whispering in their earsGive them unquiet dreams;

Leaning softly outFrom ferns that drop their tears

Over the young streams.Come away, O human child!

To the waters and the wildWith a faery, hand in hand,

For the world's more full of weeping than you can understand.

Away with us he's going,The solemn-eyed:

He'll hear no more the lowingOf the calves on the warm hillside

Or the kettle on the hobSing peace into his breast,

Or see the brown mice bobRound and round the oatmeal chest.

For he comes, the human child,To the waters and the wildWith a faery, hand in hand,

From a world more full of weeping than he can understand.

W.B. Yeats

Der det buktende vannet strømmerfra høydene over Glen-Car,i dammer blant sivetder knapt en stjerne kan bade,leter vi etter slumrende ørretog hvisker dem i øretslik at deres drømmer blir urolige;Lener oss forsiktig utfra bregner som drypper sine tårerover de nye bekkene.Bli med oss, å menneskebarn!Til vannene og villmarkenmed en fe, hånd i hånd,for det finnes mer sorg i verden enn du kan forstå.

Nå går han bort med oss,barnet med de alvorlige øynene:Han kommer aldri mer til å høre rautingenfra kalvene i den varme åssideneller kjelen på komfyrensom synger fred inn i brystet hans,eller se de brune musene hopperundt og rundt boksen med havregryn.For han blir med, menneskebarnet,til vannene og villmarkenmed en fe, hånd i hånd,fra en verden der det finnes mer sorg enn han kan forstå.

BÅNSULLFRA TELEMARK

Seidama deidama dei dam då, seidama deidama dåa.

BYSJAN, BYSJAN LITE BÅNFRA ØSTERDALEN

Bysjan, bysjan lite bån, no skal bånet såvvå,jenta stilt åt ramna gå, gåmål krok åt klåvvå.Ute skin en ljøske blek, stjernerap og måne,lyser opp i skauom te, dagen kjem te gråne.Lyser opp og syner vei, stjernerap og måne,

for så mang en husvill krok, bysjan, bysjan båne.

WIE EIN KIND: III – TRAUERMARCH

MIT EINEM UNGLÜCKSFALLG’gangali ging g’ganggali g’gang ga

g’gang g’gang g’g’ g’ g’ g’ g’ g’g’ g’ g’ g’ g’ g’

gang g’ gang g’gang ga g’ gang ga g’ganggali g’ganggali g’

g’ganggalilili gingg’ g’ g’ g’ g’ g’ g’ g’ gali ging

g’gung g’gung

Adolf Wölfli

LULLABYFROM TELEMARK

LIKE A CHILD: III – FUNERAL MARCH WITH AN ACCIDENT

SOM ET BARN: III – SØRGEMARSJ MED ET ULYKKESTILFELLE

HUSH, HUSH LITTLE CHILDFROM ØSTERDALEN

Hush, hush little child, time to sleep, the girl goes quietly to her bed, the old one to the chamber.Outside a pale light shines, shooting stars and moonlight light up the forest until day begins to dawn.Light up the way, starlight and moon, for many a lost soul on the road, hush, hush child.

KIND2 — adjective having or showing a friendly, generous, and

considerate nature: she was a good, kind woman | he was very kind to me.

• [predic.] used in a polite request:would you be kind enough to repeat what you said?

• (kind to) (of a consumer product) gentle on (a part of the body): look for rollers that are kind to hair.

• (archaic) affectionate or loving. - origin Old English gecynde ‘natural, native’ in Middle English the earliest sense is ‘well born or well bred’, whence ‘well disposed by nature,

courteous, gentle, benevolent’

(Oxford Dictionary of English)

RECORDING2L (Lindberg Lyd) records in spacious acoustic venues; large concert halls, churches and cathedrals. This is actually where we can make the most intimate recordings. The qualities we seek in large rooms are not necessarily a big reverb, but openness due to the absence of close reflecting walls. Making an ambient and beautiful recording is the way of least resistance. Searching the fine edge between direct contact and openness; that’s the real challenge! A really good recording should be able to bodily move the listener. This core quality of audio production is made by choosing the right venue for the repertoire, and balancing the image in the placement of microphones and musicians relative to each other in that venue. There is no method available today to reproduce the exact perception of attending a live performance. That

leaves us with the art of illusion when it comes to recording music. As recording engineers and producers we need to do exactly the same as any good musician; interpret the music and the composer’s intentions and adapt to the media where we perform.

Surround sound is a completely new conception of the musical experience. Recorded music is no longer a matter of a fixed two-dimensional set-ting, but rather a three-dimensional enveloping situation. Stereo can be described as a flat canvas, while surround sound is a sculpture that you can literally move around and relate to spatially; surrounded by music you can move about in the aural space and choose angles, vantage points and positions

MORTEN LINDBERG engineer and producer

PURE AUDIO BLU-RAYBlu-ray is the first domestic format in history that unites theatre movies and music sound in equally high quality. The musical advantage is the high resolution for audio, and the conveni-ence for the audience as one single player will handle music, films, DVD-collection and your old library of traditional CD.

Developed by Munich’s msm-studios in co- operation with Lindberg Lyd, the Pure Audio Blu-ray combines the Blu-ray format’s vast storage capacity and bandwidth necessary for high resolution sound (up to 192 kHz/24Bit) in surround and stereo with the easy and straight-forward handling of a CD. Pure Audio Blu-ray

can be operated in two ways: by on-screen menu navigation or by remote control without a TV screen. Remote control operation is as easy as with a CD: besides the standard transport controls the numeric keys directly access the corresponding track number and the desired audio stream can be selected by the coloured keys on the remote control. For example, press the red button for 5.0 DTS HD Master or yellow for 2.0 LPCM. Pure Audio Blu-ray plays back on every Blu-ray player.

5.0 DTS HD MA 24/192kHz

2.0 LPCM 24/192kHz

Recording Producer and Balance Engineer MORTEN LINDBERGCo-producer Cradle Songs FRANK HAVRØY

Assistant Engineer BEATRICE JOHANNESSEN

Editing JØRN SIMENSTADMix, Mastering and Authoring MORTEN LINDBERG

Front Page Photo GETTY IMAGESArtist Photo BLUNDERBUSS

Photo Uranienborg Church MORTEN LINDBERGNorwegian translations KIRSTI VOGT / English translations ANDREW SMITH

Graphic Design BLUNDERBUSS

Musical Director KJETIL ALMENNINGExecutive Producers KIRSTI VOGT and MORTEN LINDBERG

Financially supported by Norsk Kulturråd, MFO and Fond for Lyd og Bilde

2L is the exclusive and registered trade markof Lindberg Lyd AS 20©10 [NOMPP1014010-110] 2L-076-SABDWorldwide distributed by Musikkoperatørene and www.2L.no

www.2L.no

RECORDED AT URANIENBORG CHURCH, NORWAYJANUARY 2010 BY LINDBERG LYD AS

This recording was made by Lindberg Lyd with DPA microphones, Millennia Media amplifiers and SPHYNX2 converters to a PYRAMIX workstation. Digital eXtreme Definition is a professional audio format that brings “analogue” qualities in 24 bit at 352.8 kHz sampling rate. DXD preserves 8.4672

Mbit/s (3 times the data of DSD) per channel. This leaves headroom for editing and balancing before quantizing to DSD for SACD or PCM for Blu-Ray.

Blu-ray authoring msm-studios GmbH audio encoding Morten Lindberg • screen design Dominik Fritz authoring Martin Seer • project management Jakobus Ciolek

Blu-ray producers Johannes Müller and Morten Lindberg

mShuttleThis Pure Audio Blu-ray is equipped with mShuttle technology – the key to enjoying your music even when away from your Blu-ray player. Connecting your BD player to your home network will enable you to access portable copies of the songs residing on the disc: you may burn your own

copy in CD quality or transfer MP3s of your favourite tracks to your mobile player. mShuttle provides a versatile listening experience of Pure Audio Blu-ray: in studio quality FLAC on your

home entertainment system, in CD quality in car & kitchen, or as MP3 wherever you are.

1. Make sure that your BD player is connected to your computer network.2. Insert the Pure Audio Blu-ray Disc into your BD player and press the mShuttle button after the disc is loaded.

3. Open the Internet browser of your computer and type in the IP address of your BD player. You will find this address in the setup menu of your Blu-ray Disc player.

4. Select booklet and audio files to download from the Blu-ray to your computer.