{"id":8026,"date":"2025-07-31T19:21:31","date_gmt":"2025-07-31T19:21:31","guid":{"rendered":"https:\/\/knutvaage.com\/?p=8026"},"modified":"2025-08-03T08:11:36","modified_gmt":"2025-08-03T08:11:36","slug":"om-musikken-som-blir-framfort-pa-rosendal-kammermusikkfestival","status":"publish","type":"post","link":"https:\/\/knutvaage.com\/en\/om-musikken-som-blir-framfort-pa-rosendal-kammermusikkfestival\/","title":{"rendered":"ABOUT THE MUSIC PERFORMED AT THE ROSENDAL CHAMBER MUSIC FESTIVAL."},"content":{"rendered":"<p>Wednesday \u2013 6. august<\/p>\n\n\n\n<p><strong>&nbsp;19.30-21.30&nbsp;<\/strong><a href=\"https:\/\/www.baroniet.no\/concert\/1-apningskonsert-rosendal-kammermusikkfestival-2025\/\"><strong>1. Opening Concert \u2013 Rosendal Chamber Music Festival&nbsp;<\/strong><\/a><a href=\"https:\/\/www.baroniet.no\/concert\/1-apningskonsert-rosendal-kammermusikkfestival-2025\/\"><strong><\/strong><\/a><\/p>\n\n\n\n<p><a href=\"https:\/\/www.baroniet.no\/concert\/1-apningskonsert-rosendal-kammermusikkfestival-2025\/\">&nbsp;<\/a><\/p>\n\n\n\n<p><a href=\"https:\/\/www.baroniet.no\/concert\/1-apningskonsert-rosendal-kammermusikkfestival-2025\/\">Knut Vaage: Bumerang&nbsp;<br><em>Opus13 (strykekvartett)<\/em><\/a><\/p>\n\n\n\n<p>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.&nbsp;<\/p>\n\n\n\n<p>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\n\n\n<p><\/p>\n\n\n\n<p>Here\u2019s the Spotify link for the LAWO Classics CD Svev (LWC\u202f1199), released in 2020:<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-rich is-provider-spotify wp-block-embed-spotify wp-embed-aspect-21-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe title=\"Spotify Embed: Bumerang\" style=\"border-radius: 12px\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" src=\"https:\/\/open.spotify.com\/embed\/track\/1iMOpfOlxnsEBFvLikGIrj?si=3e6444a7fd624ba6&#038;utm_source=oembed\"><\/iframe>\n<\/div><\/figure>\n\n\n\n<p>Thursday \u2013 7. august<\/p>\n\n\n\n<p><strong>&nbsp;16.00-17.30&nbsp;<\/strong><a href=\"https:\/\/www.baroniet.no\/concert\/4-konsert-i-kvinnherad-kyrkje\/\"><strong>4. Konsert i Kvinnherad kyrkje<\/strong><\/a><strong><\/strong><\/p>\n\n\n\n<p>Knut Vaage: Fra 20 Blikk p\u00e5 Opus 54&nbsp;<br><em>Knut Christian Jansson (piano)<\/em><\/p>\n\n\n\n<p><strong>OPUS 54 \u2013 fra piano til sinfonietta og tilbake til piano<\/strong><\/p>\n\n\n\n<p>The piece \"20 Views on Opus 54\" is a recomposition of \"Odyss\u00e9\", which in turn was composed as an interpretive exploration of \"Lyric Pieces\" Op. 54 by Edvard Grieg. The idea behind \"Odyss\u00e9\" was 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.&nbsp;<\/p>\n\n\n\n<p>\"Odyss\u00e9\" was created as a free reflection on Grieg\u2019s opus, filtered through my own structural ideas throughout the composition. \"Odyss\u00e9\" was commissioned by BIT20 Ensemble, funded by the Norwegian Arts Council, and premiered at Bergen&nbsp;<\/p>\n\n\n\n<p>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.&nbsp;<\/p>\n\n\n\n<p>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 \"Odyss\u00e9\" into 20 small reflections (views) 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 \"Odyss\u00e9\". The sections will likely be perceived more as events than as form-developing processes, and the music may therefore appear as small musical meditations.\nThe 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\n\n\n<p><\/p>\n\n\n\n<p>Link to Spotify Blikk 1-5 (Gjetergutt):<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-rich is-provider-spotify wp-block-embed-spotify wp-embed-aspect-21-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe title=\"Spotify Embed: 20 Blikk p\u00e5 Op. 54: Blikk 1-5 (Gjetergutt)\" style=\"border-radius: 12px\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" src=\"https:\/\/open.spotify.com\/embed\/track\/3XstrimDfV2mGexbEutftY?si=704ff3fac1e34e5a&#038;utm_source=oembed\"><\/iframe>\n<\/div><\/figure>\n\n\n\n<p>Knut Vaage: Skr\u00e5blikk p\u00e5 Haugtussa&nbsp;<br><em>Ragnhild Gudbrandsen (stemme), Hilde Haraldsen Sveen (sopran), Knut Christian Jansson (piano)<\/em><\/p>\n\n\n\n<p>\"Skr\u00e5blikk p\u00e5 Haugtussa\" (Oblique Glance at Haugtussa) 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.<br><br>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\n\n\n<p><br>Garborg's cycle of poems covers a wide span of emotion, from grief to exuberant joy.<br>Veslem\u00f8y can see the underworld; she experiences nature with great wonderment.<\/p>\n\n\n\n<p>I look forward to hearing the work at the same concert as Grieg's famous opus.<\/p>\n\n\n\n<p>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.<br><\/p>\n\n\n\n<p>Link to Spotify:<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-rich is-provider-spotify wp-block-embed-spotify wp-embed-aspect-21-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe title=\"Spotify Embed: Skr\u00e5blikk p\u00e5 Haugtussa\" style=\"border-radius: 12px\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" src=\"https:\/\/open.spotify.com\/embed\/album\/2FCcZ0WoReUlH1tgjEGPl2?si=JXtYEGmkRkO02b8BZllL4w&#038;utm_source=oembed\"><\/iframe>\n<\/div><\/figure>\n\n\n\n<p>Saturday \u2013 9. august<\/p>\n\n\n\n<p><strong>ABOUT THE CYCLE \u201cTILSTANDAR\u201d (performed Saturday and Sunday):<\/strong><\/p>\n\n\n\n<p>\u201cTilstandar\u201d (Conditions) 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\n\n\n<p>Tematikken i \u00abTilstandar\u00bb kretsar om ei open tiln\u00e6rming rundt menneske i naturen. Naturen rommar oss, og er samtidig til stades utan oss. Naturen gjer oss h\u00f8ve til \u00e5 finna innsikt og opplevingar, og landskap til formskapande inspirasjon. Skiftande \u00e5rstider er grunnlaget for den store syklusen i naturen. Me kan lett assosiera mennesket sitt livsl\u00f8p med naturen sine skiftande \u00e5rstider. Naturen gjennomg\u00e5r kvart \u00e5r dei samme endringsprosessane, men aldri p\u00e5 samme m\u00e5te. V\u00e5rt arbeid lar seg inspirera av den samme sykliske tenkinga, og tanken om at tilstandane opplevest nye og&nbsp;kjente p\u00e5 samme tid.&nbsp;Daniel har ogs\u00e5 bestilt alle 3 stykkene som p\u00e5 kvar sin m\u00e5te kommenterer naturtilstandane som oppst\u00e5r i vekslande \u00e5rstider, og refleksjonar omkring dette temaet. \u00abTilstandar\u00bb (1. del) er inspirert av v\u00e5ren, og har tekst av Ruth Lillegraven: \u00abOpp av jorda\u00bb. Sommaren (2. del) er ein moderne kulokk med tekst av Erlend N\u00f8dtvedt: \u00abkom linderei kom\u00bb. Hausten (3. del) har tekst av Terje T\u00f8rrisplass: \u00abHauste inn\u00bb.&nbsp;<\/p>\n\n\n\n<p>Vinteren (4. del) finst fr\u00e5 f\u00f8r i \u00abVintersong\u00bb fr\u00e5 2017 med tekstar av Hanne Bramness. \u00abVintersong\u00bb blei bestilt av Tora Augestad og Hardanger Musikkfest, og urframf\u00f8rt p\u00e5 festivalen av Tora saman med Lautten Compagney fr\u00e5 Berlin, dirigert av Grete Pedersen. Daniel S\u00e6ther har f\u00e5tt sin eigen versjon, \u00abVintersong\u00bb versjon 2 fr\u00e5 2021, som blei innspelt p\u00e5 ein CD med samme navn utgitt p\u00e5 LAWO Classics i 2022.&nbsp;Syklusen \u00abTilstandar\u00bb med alle 4 satsane, eignar seg for framf\u00f8ring samla p\u00e5 ein konsert. Det lengste verket \u00abVintersong\u00bb inneheld (nesten) alle instrumenta som er brukt i dei 3 nye satsane.&nbsp;<\/p>\n\n\n\n<p>The new pieces were composed in 2024 and funded by Fond for lyd og bilde. The performance is supported by the Norwegian Society of Composers. I look forward to hearing this music for the first time at the festival.&nbsp;<\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><strong>&nbsp;16.00-18.00&nbsp;<\/strong><a href=\"https:\/\/www.baroniet.no\/concert\/15-konsert-i-riddersalen-2025\/\"><strong>15. Konsert i Riddersalen<\/strong><\/a><strong><\/strong><\/p>\n\n\n\n<p><a href=\"https:\/\/www.baroniet.no\/concert\/15-konsert-i-riddersalen-2025\/\"><\/a><\/p>\n\n\n\n<p><a href=\"https:\/\/www.baroniet.no\/concert\/15-konsert-i-riddersalen-2025\/\">Knut Vaage: \u00abOpp av jorda\u00bb (V\u00e5r) (Urframf\u00f8ring) tekst: Ruth Lillegraven&nbsp;<br><em>Daniel S\u00e6ther (kontratenor), \u00abEnsemble C4\u00bb<\/em><\/a><\/p>\n\n\n\n<p>\u00abOpp av jorda\u00bb (Up from the Earth) 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\n\n\n<p><\/p>\n\n\n\n<p><em>Opp av jorda<\/em><\/p>\n\n\n\n<p>den evige tida<\/p>\n\n\n\n<p>som garn p\u00e5 spolen<\/p>\n\n\n\n<p>som sirkelen kring<\/p>\n\n\n\n<p>m\u00e5nen, rundt og&nbsp;<\/p>\n\n\n\n<p>rundt<\/p>\n\n\n\n<p>for alt som skjer<\/p>\n\n\n\n<p>har skjedd f\u00f8r<\/p>\n\n\n\n<p>og alt som skjer<\/p>\n\n\n\n<p>skal skje igjen<\/p>\n\n\n\n<p>himmelen<\/p>\n\n\n\n<p>fjella, lyset<\/p>\n\n\n\n<p>bl\u00e5tt i bl\u00e5tt<\/p>\n\n\n\n<p>gr\u00e5tt i gr\u00e5tt<\/p>\n\n\n\n<p>v\u00e5tt i v\u00e5tt<\/p>\n\n\n\n<p>og under jorda<\/p>\n\n\n\n<p>ei ny spire<\/p>\n\n\n\n<p>gjennom molda&nbsp;<\/p>\n\n\n\n<p>gjennom molda&nbsp;<\/p>\n\n\n\n<p>opp av jorda<\/p>\n\n\n\n<p>mot lyset<\/p>\n\n\n\n<p>mot lyset<\/p>\n\n\n\n<p><em>Ruth Lillegraven<\/em><\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><strong>BIO:&nbsp;<\/strong><\/p>\n\n\n\n<p><strong>Ruth Lillegraven&nbsp;<\/strong>(f. 1978)&nbsp;kjem fr\u00e5 Granvin i Hardanger der ho no er busett.&nbsp;Ho debuterte som forfattar i 2005 og har sidan skrive over tjue b\u00f8ker b\u00e5de for barn og vaksne. Lillegraven er mest kjend for diktsamlingar som&nbsp;Urd,&nbsp;Sigd&nbsp;og&nbsp;Eg er eg er eg er&nbsp;og for ein triologi med psykologiske thrillerar om Clara Lofthus.&nbsp;I 2013 vann ho Brageprisen for diktsamlinga&nbsp;Urd.<\/p>\n\n\n\n<p><strong>21.30-22.45&nbsp;<\/strong><a href=\"https:\/\/www.baroniet.no\/concert\/16-konsert-i-kvinnherad-kyrkje\/\"><strong>16. Konsert i Kvinnherad kyrkje<\/strong><\/a><strong><\/strong><\/p>\n\n\n\n<p><a href=\"https:\/\/www.baroniet.no\/concert\/16-konsert-i-kvinnherad-kyrkje\/\"><\/a><\/p>\n\n\n\n<p><a href=\"https:\/\/www.baroniet.no\/concert\/16-konsert-i-kvinnherad-kyrkje\/\">Knut Vaage: \u00abHauste inn\u00bb (H\u00f8st) (Urframf\u00f8ring) tekst: Terje T\u00f8rrisplass&nbsp;<br><em>Daniel S\u00e6ther (kontratenor), \u00abEnsemble C4\u00bb<\/em><\/a><\/p>\n\n\n\n<p>\u201cHauste inn\u201d (Harvesting) 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\n\n\n<p><\/p>\n\n\n\n<p><em>Hauste inn<\/em><\/p>\n\n\n\n<p>Ei veke etter at himmmelen gjekk tom&nbsp;<\/p>\n\n\n\n<p>for svaler<\/p>\n\n\n\n<p>kan eg h\u00f8yre ho i den kl\u00e5re kvelden.<\/p>\n\n\n\n<p>Skuggen forbi augo, hivet i vengene<\/p>\n\n\n\n<p>kvinet i kvart sveip.<\/p>\n\n\n\n<p>Det er ikkje sant<\/p>\n\n\n\n<p>at lufta er utan spor.<\/p>\n\n\n\n<p>I alle v\u00e5re andlet<\/p>\n\n\n\n<p>finst speglingar<\/p>\n\n\n\n<p>av flukt.&nbsp;<\/p>\n\n\n\n<p><em>Terje T\u00f8rrisplass<\/em><\/p>\n\n\n\n<p>BIO:<br>Terje T\u00f8rrisplass (b. 1957) lives in Bromma in Hallingdal. He debuted with the poetry collection Eg bygger ikkje byar in 2010. Vegemot 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.&nbsp;<br><\/p>\n\n\n\n<p>Sunday \u2013 10 August<\/p>\n\n\n\n<p><strong>&nbsp;12.00-15.30&nbsp;<\/strong><a href=\"https:\/\/www.baroniet.no\/concert\/17-avslutningskonsert-rosendal-kammermusikkfestival-2025\/\"><strong>17. Konsert i Riddersalen<\/strong><\/a><strong><\/strong><\/p>\n\n\n\n<p>Knut Vaage: \u00abkom lindereid kom\u00bb (Sommer) (Urframf\u00f8ring) tekst: Erlend O. N\u00f8dtvedt&nbsp;<br><em>Daniel S\u00e6ther (kontratenor), \u00abEnsemble C4\u00bb<\/em><\/p>\n\n\n\n<p>\u201ckom linderei kom\u201d (Come Linderei Come) 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\n\n\n<p><\/p>\n\n\n\n<p><em>kom linderei kom<\/em><\/p>\n\n\n\n<p>kom linderei kom<\/p>\n\n\n\n<p>kom heimros og bingros<\/p>\n\n\n\n<p>skogreid og myrkreid<\/p>\n\n\n\n<p>kom epleros og liljegrein<\/p>\n\n\n\n<p>kom snurikoll sprakur<\/p>\n\n\n\n<p>og snurikolla<\/p>\n\n\n\n<p>kom ylva sylva<\/p>\n\n\n\n<p>kom duna og dokka<\/p>\n\n\n\n<p>rosa og sokka<\/p>\n\n\n\n<p>kom leda og langa<\/p>\n\n\n\n<p>tea og tanga<\/p>\n\n\n\n<p>dumiblaa sylvitaa<\/p>\n\n\n\n<p>brusi og krusi<\/p>\n\n\n\n<p>duni-dokka rosi-sokka<\/p>\n\n\n\n<p>kom kniplegeit og lukla<\/p>\n\n\n\n<p>kom mj\u00f8dhumla mi<\/p>\n\n\n\n<p>kom dalarosi<\/p>\n\n\n\n<p>kom linderei kom<\/p>\n\n\n\n<p><em>Erlend N\u00f8dtvedt<\/em><\/p>\n\n\n\n<p><\/p>\n\n\n\n<p class=\"has-small-font-size\"><strong>BIO:<\/strong><\/p>\n\n\n\n<p>Erlend O. N\u00f8dtvedt (b.1984) debuted with the poetry collection Harudes in 2008. Since then, he has published the poetry collections Bergens beskrivelse (2011), Trollsuiten (2014), Slekter (2019), and Olav Nygards seng (2023) - and the novels Vestlandet (2017) and Mordet p\u00e5 Henrik Ibsen (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\n\n\n<h1 class=\"wp-block-heading has-small-font-size\">BIO, KNUT VAAGE:<\/h1>\n\n\n\n<p>More info at&nbsp;<a href=\"https:\/\/knutvaage.com\/en\/biografi\/\">www.knutvaage.com<\/a><\/p>\n\n\n\n<p><\/p>","protected":false},"excerpt":{"rendered":"<p>Onsdag \u2013 6. august &nbsp;19.30-21.30&nbsp;1. \u00c5pningskonsert Rosendal Kammermusikkfestival&nbsp; &nbsp; Knut Vaage: Bumerang&nbsp;Opus13 (strykekvartett) Stykket \u00abBumerang\u00bb er bygd&nbsp;opp av kontrasterande avsnitt som stadig vender tilbake, men aldri til n\u00f8yaktig samme utgangspunkt. Desse sm\u00e5 og store endringane tvingar fram eit rastlaust uttrykk. Eit anna element av uro&#8230;<\/p>","protected":false},"author":1,"featured_media":7833,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-8026","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-uncategorized"],"_links":{"self":[{"href":"https:\/\/knutvaage.com\/en\/wp-json\/wp\/v2\/posts\/8026","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/knutvaage.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/knutvaage.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/knutvaage.com\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/knutvaage.com\/en\/wp-json\/wp\/v2\/comments?post=8026"}],"version-history":[{"count":13,"href":"https:\/\/knutvaage.com\/en\/wp-json\/wp\/v2\/posts\/8026\/revisions"}],"predecessor-version":[{"id":8044,"href":"https:\/\/knutvaage.com\/en\/wp-json\/wp\/v2\/posts\/8026\/revisions\/8044"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/knutvaage.com\/en\/wp-json\/wp\/v2\/media\/7833"}],"wp:attachment":[{"href":"https:\/\/knutvaage.com\/en\/wp-json\/wp\/v2\/media?parent=8026"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/knutvaage.com\/en\/wp-json\/wp\/v2\/categories?post=8026"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/knutvaage.com\/en\/wp-json\/wp\/v2\/tags?post=8026"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}