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VA - For Citizens & Peasants - Popular Tunes from the 18th Century Music Books (1989, PolyGram # NKFCD 50025-2)

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VA - For Citizens & Peasants - Popular Tunes from the 18th Century Music Books (1989, PolyGram # NKFCD 50025-2)

VA - For Borgere Og Bønder (Folkelig Musikk Fra Gamle Norske Notebøker)
VA - For Citizens & Peasants - Popular Tunes from the 18th Century Music Books
EAC+LOG+CUE | FLAC: 301 MB | Full Artwork: 116 MB | 5% Recovery Info
Label/Cat#: PolyGram # NKFCD 50025-2 | Country/Year: Norway 1989
Genre: World, Folk, (Classical) | Style: Scandinavian Folk, (Secular, Baroque)

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VA - For Citizens & Peasants - Popular Tunes from the 18th Century Music Books (1989, PolyGram # NKFCD 50025-2)


Exact Audio Copy V1.0 beta 3 from 29. August 2011

EAC extraction logfile from 11. July 2013, 11:09

Hans Olav Gorset - Anon Egeland / For Citizens & Peasants - Popular Tunes from the 18th Century Music Books

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Extraction speed 3.8 X
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Test CRC 6EB9FFFA
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==== Log checksum C057D43C0313D11B8061C838F00D54B3B355AAB18367EAF94A5160EBD1F278D7 ====

foobar2000 1.1.14a / Dynamic Range Meter 1.1.1
log date: 2013-07-16 22:05:54

––––––––––––––––––––––––––––––––––––––––
Analyzed: Hans Olav Gorset - Anon Egeland / For Citizens & Peasants - Popular Tunes from the 18th Century Music Books
––––––––––––––––––––––––––––––––––––––––

DR Peak RMS Duration Track
––––––––––––––––––––––––––––––––––––––––
DR12 -4.03 dB -17.88 dB 1:52 01-Haapern
DR13 -5.07 dB -21.00 dB 1:26 02-Gorsenhauer
DR14 -2.94 dB -24.34 dB 4:51 03-Aria. AK, min Rose visner bort
DR12 -22.11 dB -37.31 dB 1:03 04-Pol
DR12 -14.45 dB -29.48 dB 3:14 05-Sara Osdanls Vise
DR13 -7.73 dB -27.42 dB 2:30 06-Polonaise , Pols Dans
DR14 -4.62 dB -23.70 dB 1:57 07-Christian March
DR11 -11.89 dB -29.53 dB 2:45 08-Morky, Murchie
DR12 -21.24 dB -36.12 dB 1:11 09-Revelle
DR15 -10.11 dB -30.57 dB 3:31 10-Aria. Grysilli, Aria del Kingo
DR14 -8.23 dB -28.18 dB 1:35 11-Rabel Giga, Engels Dantz
DR11 -14.49 dB -28.06 dB 1:44 12-Aria. Naar Mar man beseer og laerer
DR14 -17.80 dB -35.86 dB 1:05 13-Field Tantzen
DR17 -18.11 dB -41.71 dB 1:36 14-Field Tantzen, Field Tantz, Syv-Spring
DR11 -10.29 dB -27.89 dB 1:07 15-Schomager Tanz
DR11 -6.78 dB -21.01 dB 1:50 16-Contiliong Menue
DR12 -2.51 dB -16.91 dB 0:55 17-Halligen
DR13 -5.08 dB -26.33 dB 3:48 18-Paals Dans, Polonesse
DR12 -13.36 dB -28.76 dB 1:57 19-Polonesse
DR13 -5.92 dB -26.53 dB 1:11 20-Jeg var kun en halv-voxen Toes
DR10 -9.54 dB -24.51 dB 1:39 21-Engloise, Engels Dantz
DR13 -11.23 dB -26.62 dB 1:22 22-Engels Dantz (The Rake of London)
DR12 -2.11 dB -17.08 dB 2:07 23-Engels Giga
DR10 -10.16 dB -24.13 dB 1:44 24-Engelis, Christiania den 6 te Feb 1762
DR13 -15.13 dB -30.48 dB 1:51 25-Menuet
DR12 -10.79 dB -26.33 dB 1:44 26-Menuet
DR13 -7.26 dB -23.81 dB 1:59 27-Menuet
DR11 -10.75 dB -28.39 dB 2:16 28-Aria, March
DR11 -23.29 dB -37.12 dB 1:38 29-Nu vel an vaer frisk til mode
DR14 -3.11 dB -25.19 dB 1:42 30-Se dagen bryder frem med magt
DR12 -13.30 dB -29.92 dB 2:07 31-Nu vel an vaer frisk til mode, Engels Kloken Spil
DR11 -9.46 dB -24.35 dB 2:13 32-Leyer Tantz
––––––––––––––––––––––––––––––––––––––––

Number of tracks: 32
Official DR value: DR12

Samplerate: 44100 Hz
Channels: 2
Bits per sample: 16
Bitrate: 633 kbps
Codec: FLAC
================================================================================



CD Info:

VA - For Borgere Og Bønder (Folkelig Musikk Fra Gamle Norske Notebøker)
VA - For Citizens & Peasants - Popular Tunes from the 18th Century Music Books

Hans Olav Gorset, flutes / Anon Egeland, violin & Hardanger fiddle

Label: PolyGram A/S
Co-Prod.: Norwegian Cultural Council
Series: Norsk Kulturrads Klassikerserie
Catalog#: NKFCD 50025-2
Format: CD, Album
Country: Norway
Released: 1989
Genre: World, Folk
Style: Scandinavian Folk

Tracklist:

1 Haapern 1:52
2 Gorsenhauer 1:26
3 Aria. AK, min Rose visner bort 4:51
4 Pol 1:03
5 Sara Osdanls Vise 3:14
6 Polonaise , Pols Dans 2:30
7 Christian March 1:57
8 Morky, Murchie 2:45
9 Revelle 1:11
10 Aria. Grysilli, Aria del Kingo 3:31
11 Rabel Giga, Engels Dantz 1:35
12 Aria. Naar Mar man beseer og laerer 1:44
13 Field Tantzen 1:05
14 Field Tantzen, Field Tantz, Syv-Spring 1:36
15 Schomager Tanz 1:07
16 Contiliong Menue 1:50
17 Halligen 0:55
18 Paals Dans, Polonesse 3:48
19 Polonesse 1:57
20 Jeg var kun en halv-voxen Toes 1:11
21 Engloise, Engels Dantz 1:39
22 Engels Dantz (The Rake of London) 1:22
23 Engels Giga 2:07
24 Engelis, Christiania den 6 te Feb 1762 1:44
25 Menuet 1:51
26 Menuet 1:44
27 Menuet 1:59
28 Aria, March 2:16
29 Nu vel an vaer frisk til mode 1:38
30 Se dagen bryder frem med magt 1:42
31 Nu vel an vaer frisk til mode, Engels Kloken Spil 2:07
32 Leyer Tantz 2:13


Credits:

Drums, Triangle – Kjell Samkopf
Fiddle – Haakon Asheim
Flute, Producer, Liner Notes, Layout – Hans Olav Gorset
Guitar [Barokkgitar], Lute – Erik Stenstadvold
Harpsichord, Clavichord – Thilo Reinhard
Instruments [Langeleik Og Dreielire] – Sverre Jensen
Liner Notes [Translation p. 28-31] – J. B. Cowlishaw
Recorded By, Edited By – Jørn Pedersen (2)
Soprano Vocals – Hanne Mari Ørbæk
Tenor Vocals – Lars Klevstrand
Viola [Viola Da Gamba] – Betteke Groot
Violin, Hardingfele, Producer, Liner Notes – Ånon Egeland

Notes: With 32 page booklet.

Norway is a rather sparsely populated country in Europe (5 million inhabitants in an area of some 685,000 km2 (264,480 sq mi)), but even so its music and its musical life are as complex as those of most other countries. Much has been learned about early music in Norway from physical artifacts found during archaeological digs. These include such instruments such as the lur. Viking and medieval sagas also describe musical activity, as do the accounts of priests and pilgrims from all over Europe coming to visit St Olaf's grave in Trondheim.

In the latter part of the 19th century Norway experienced economic growth leading to greater industrialization and urbanization. More music was established in the cities, and opera performances and symphony concerts were considered to be of high standards. In this era both prominent composers (like Edvard Grieg and Johan Svendsen) and performers combined the European traditions with Norwegian tones.

The import of music and musicians for dance and entertainment increased, and this continued in the 20th century, even more so when gramophone records and radio became common. In the last half of the 20th century, Norway, like many other countries in the world, underwent a roots revival that saw indigenous music being revived.

Before 1840, there were limited written sources of folk music in Norway. Originally these historical attainments were believed to have a distinct Christian influence. As research continued, there was also mythical and fairy tale connections to the folk music. Overall the purpose of folk music was for entertainment and dancing.

Norwegian folk music may be divided into two categories: instrumental and vocal. As a rule instrumental folk music is dance music (slåtter). Norwegian folk dances are social dances and usually performed by couples, although there are a number of solo dances as well, such as the halling. Norway has very little of the ceremonial dance characteristic of other cultures. Dance melodies may be broken down into two types: two-beat and three-beat dances. The former are called halling, gangar or rull, whereas the latter are springar or springleik.

Traditional dances are normally referred to as bygdedans (village or regional dance). These dances, sometimes called "courting dances" were often connected to the important events of rural (farming) life: weddings, funerals and cyclical feasts like Christmas.

Folk music in Norway falls in another 2 main categories based in the ethnic populations from which they spring: North Germanic and Sami.

Traditional Sami music is centered around a particular vocal style called joik. Originally, joik referred to only one of several Sami singing styles, but in English the word is often used to refer to all types of traditional Sami singing. Its sound is comparable to the traditional chanting of some American Aboriginal cultures.

Traditional North Germanic Norwegian vocal music includes (kvad), ballads and short, often improvised songs (stev), among the most common types of traditional music. Work songs, hymns, tralling vocals and old printed ballad stories, skillingsviser, have also been popular.

Norway shares some Nordic dance music tradition with its neighbouring countries of Sweden and Denmark, where the most typical instrument is the fiddle. In Norway, the Hardanger fiddle (hardingfele), the most distinctive instrument in Norwegian folk music, looks and plays like a standard violin. It is only to be found primarily in the western and central part of the country. The Hardanger fiddle dates back to around 1700 and however differs from the ordinary fiddle in many respects. The most important of these is that it has sympathetic strings and a less curved bridge and fingerboard. Thus, the performer plays on two strings most of the time, creating a typical bourdon style. The Hardanger fiddle tradition is rich and powerful. By traditional, orally conveyed instruction was one of the most important aspects of a Hardanger fiddle player's accomplishment.

Epic folk songs are the most important form of vocal folk music in Norway. Although there are many types of epic folk songs, the most intriguing are the medieval ballads. They were first transcribed in the previous century, but the ballad tradition has been handed down from the Middle Ages. The lyrics of these songs also revolve around this period of history, recounting tales of the lives of nobles, and of knights and maidens. A number of the ballads describe historical events, and they are often dramatic and tragic.

In the second half of the 19th century, some fiddlers, especially those from Voss and Telemark, significantly Lars Fykerud (who eventually moved to Stoughton, Wisconsin in the United States and then returned to Telemark late in life), began introducing more expressive ways of playing, turning the traditional slått music to concert music for the urban classes.

At the same time, new dances and tunes were imported from Europe, including the fandango, reinlender, waltz, polka and mazurka. Recent scholarship suggests that a number of these forms may have originally been brought to Norway by Romani (known in Norwegian by the pejorative term, "tater"), among them the fiddler Karl Fant.[citation needed] These forms are now known as runddans (round dances) or gammeldans (old dances).

Perhaps the most popular and controversial of modern Hardanger fiddle artists is Annbjørg Lien, who released her first album, Annbjørg in 1989. The album featured Helge Førde and Frode Fjellheim and was both praised for its innovative fusion work and expressive style, and criticized for its watering-down of traditional sounds and a lack of regional tradition.As of today, there is an eclectic use of both folk music and its traditional instruments. Interest in folk music is growing, and there are a number of promising young performers. They are not only drawn to instrumental music, however. Many young people are now learning to sing in the traditional style. During the past few decades (since the folk-rock trend), folk musicians have displayed a greater interest in experimentation. A new generation has emerged which, while showing respect for the old traditions, is also willing to think along new lines. A number of well-known folk music artists in Norway have made excellent recordings using new instruments and new arrangements. In recent years artists like Gåte and Odd Nordstoga have made folk music more accessible to younger crowds. Gåte fused folk music with metal and became very popular. Lumsk is another band mixing Norwegian traditional folk music with metal. The most famous Sami singer is undoubtedly Mari Boine, who sings a type of minimalist folk-rock with joik roots. Karl Seglem is a Norwegian musician and composer who plays saxophone and bukkehorn. Sofia Jannok is also a popular Sami contemporary artist.

There are also some important institutions, for example the National Association of Folk Musicians. It is an organization founded in 1923 for folk music artists and folk dancers and it is primarily a union for local and regional folk music associations, but it is also open to individual members. As of 1990, the national association had 6,000 members from approx. 125 different local organizations. The National Association of Folk Musicians publishes Spelemannsbladet, a folk music journal that comes out 12 times a year. It also arranges the annual Landskappleiken (National Contest for Traditional Music), which is the most important event of its kind in Norway.

Folk music has a distinct part of Norwegian history, and most historical collection was done by L.M Lindeman. A large part of the collections are maintained and preserved in the National Folk Music Collection and at the National Library.

Norwegian Broadcasting Corporation (NRK) uses and includes recordings of folk music from the archive of NRK, which contains over 50,000 recordings from 1934 until today, in addition to other recordings in the radio channels and the specialized radio channel NRK Folkemusikk. wikipedia

VA - For Citizens & Peasants - Popular Tunes from the 18th Century Music Books (1989, PolyGram # NKFCD 50025-2)


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