ENSEMBLE 96 KJETIL ALMENNING

NIDAROS STRING QUARTET

“Come away, O human child!

ENSEMBLE 96
To the waters and the wild With a faery, hand in hand,
For the world's more full of weeping than you can understand.”
THE GRAMMY NOMINATED CHAMBER CHOIR ENSEMBLE 96
SINGS CONTEMPORARY LULLABIES AND NORWEGIAN CRADLE SONGS.

KJETIL ALMENNING
1. SOV, SOV, LITEN GUT 7. BIE, BIE LITE BÅN
FOLK SONG FOLK SONG FROM TELEMARK

2. DIE STIMME DES KINDES 8. THE STOLEN CHILD

JAAKKO MÄNTYJÄRVI (1963–) MARCUS PAUS (1979–)

3. BÅNSULL 9. BÅNSULL FRA TELEMARK

FOLK SONG FROM ØSTERDALEN FOLK SONG

4. WIE EIN KIND I – WIIGEN-LIED 10. WIE EIN KIND III – TRAUERMARSCH
PER NØRGÅRD (1932–)
MIT EINEM UNGLÜCKSFALL
PER NØRGÅRD (1932–)
5. BIA, BIA LITE BÅN
FOLK SONG FROM VOSS
11. BYSJAN, BYSJAN LITE BÅN
FOLK SONG FROM ØSTERDALEN
6. WIE EIN KIND II – FRÜHLINGS-LIED
PER NØRGÅRD (1932–)

Recorded in DXD 24/352.8kHz

5.0 DTS HD MA 24/192kHz Exclusive Pure Audio Blu-ray
2.0 LPCM 24/192kHz – hybrid SACD included

eq
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EAN13: 7041888515722 76
2L-076-SABD made in Norway 20©10 Lindberg Lyd AS
 1. SOV, SOV, LITEN GUT 2:01
FOLK SONG, ARR. FRANK HAVRØY

2. DIE STIMME DES KINDES 4:45

JAAKKO MÄNTYJÄRVI (1963–)
TEXT: NIKOLAUS LENAU (1802–1850)

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

4. WIE EIN KIND I – WIIGEN-LIED 3:38

PER NØRGÅRD (1932–)
TEXT: ADOLF WÖLFLI
SOLOISTS: SIV PAUS BROVOLD, INGVAR ÖRN ÞRASTARSON

5. BIA, BIA LITE BÅN 3:43

FOLK SONG FROM VOSS, ARR. FRANK HAVRØY
KIND -s ~ h 3 (kvæð.)
6. WIE EIN KIND II – FRÜHLINGS-LIED 7:35 barn, avkom, hon føddi tað lítla ~
PER NØRGÅRD (1932–)
TEXT: RAINER MARIA RILKE (1875–1926) (oftari skrivað kinn)
SOLOISTS: LYDIA ROSENBERG ULLEBERG, TORFINN KLEIVE

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

8. THE STOLEN CHILD 10:58

MARCUS PAUS (1979–)
TEXT: WILLIAM BUTLER YEATS (1865–1939)
WITH NIDAROS STRING QUARTET
SOLOISTS: INGRID TRØYM LEREIM, INGER HONERØD

9. BÅNSULL FRA TELEMARK 2:28

FOLK 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 2:29

FOLK SONG FROM ØSTERDALEN, ARR. FRANK HAVRØY
 linked to childhood. The folk songs are a brave at-
tempt to offer consolation in a remorseless world.

The Finnish composer Jaakko Mäntyjärvi first

”Bli med oss, å menneskebarn! Først skrev finske Jaakko Mäntyjärvi musikken “Come away, O human child! wrote the music to “Die Stimme des Kindes”
til «Die Stimme des Kindes» uten ord. Etter en
Til vannene og villmarken To the waters and the wild without words. After some time he came across
tid fant han Nikolaus Lenaus dikt, som sammen-
med en fe, hånd i hånd, falt med komponistens tanke om stemning og With a faery, hand in hand, Nikolaus Lenau’s poem in which Mäntyjärvi
for det finnes mer sorg i verden tekstur. Musikk og tekst lyder som en idyllisk For the world's more full of weeping found moods and textures that corresponded
with his own ideas. The piece sounds like an idyl-
enn du kan forstå.” vuggevise, men er også melankolsk og drama- than you can understand.” lic lullaby, yet it is also melancholic and dramatic.
tisk. En urolig voksen finner trøst i barnets uskyl-
dige søvn og stille smil. An uneasy adult finds consolation in the innocent
sleep and gentle smile of a child.
Det finnes forbausende lite musikk for kor og There is surprisingly little music for choir and
strykekvartett. Ensemble 96 gikk derfor til Mar- Danske Per Nørgård lot seg, lik mange andre string quartet. Ensemble 96 therefore decided to
kunstnere, inspirere av den schizofrene Adolf Like many other artists the Danish composer
cus Paus med en bestilling på et verk for denne commission Marcus Paus to write a work for that
Wölflis kunst. Wölflis liv og verker danner et Per Nørgård found inspiration in the work of the
konstellasjonen. Komponisten fikk fritt velge particular constellation. He was given freedom of
storslagent vitnesbyrd om det menneskelige schizophrenic writer Adolf Wölfli whose life and
tekst. Ideen til platen vokste frem da Marcus in- choice regarding a text to set; the idea behind
sjelsliv. Satt sammen med Rainer Maria Rilkes works are a magnificent testimony to human
spirert kom tilbake og fortalte om diktet om det this recording emerged when Marcus returned
dikt om våren gir de tre satsene i «Wie ein Kind» spiritual life. Combined with Rainer Maria Rilke’s
stjålne barnet. full of inspiration having read Yeats’ poem about
oss et sterkt møte med flere barndomsminner. poem about spring the three movements of “Wie
the stolen child.
ein Kind” present a powerful encounter with
Plateprosjektet ble tidlig hetende KIND. Ordet Noen av dem synes å være gode, andre langt
childhood memories. Some of them are pleasant
favner på ulike språk både det barnlige og det mindre behagelige. Early on in the process the project was given
to recall, others less so.
barnslige, i tillegg til at det sier noe om venn- the name KIND. The word embraces concepts
lighet og om trøst. Prosjektets undertittel var Norske Marcus Paus’ verk «The Stolen Child» of childlikeness and childishness in different lan-
In "The Stolen Child" the Norwegian composer
«om barn, for voksne». Slik synes vi det endelige er et eventyr med enkle, men på samme tid guages, as well as suggesting friendliness and
komplekse virkemidler. I lekende samspill med Marcus Paus has created a fairytale using simple,
resultatet har blitt. consolation. The project’s subtitle was “about
Yeats’ vakre dikt tar verket lytteren med langt yet at the same time complex, means. Through
children, for adults” – which is very much how we
its playful interaction with Yeats’ poem the work
KIND har, i likhet med Ensemble 96, fokus av gårde, dit feene lokker det lille barnet bort fra feel the final result has turned out.
takes us far afield to where the fairies lure the
på nyere norsk og nordisk musikk for kor. Per all sorg i verden.
little child away from all the world’s grief.
Nørgård og Jaakko Mäntyjärvi er allerede In keeping with Ensemble 96’s main focus, KIND
klassikere for et stadig større publikum, mens Frank Havrøy har arrangert en rekke norske bån- presents modern Norwegian and Nordic choral
suller og vuggesanger. De tidløse folketonene Frank Havrøy has arranged several traditional
Marcus Paus representerer en ung generasjon music. Per Nørgård and Jaakko Mäntyjärvi are
taler direkte og ærlig til oss, og de elegante Norwegian lullabies for choir. These timeless folk
norske komponister med en økende interesse already considered classics by a rapidly increas-
bearbeidelsene gir melodiene ytterligere en songs speak directly to us, and Havrøy’s elegant
for kormediet. ing audience, while Marcus Paus represents a
dimensjon. arrangements give them an extra dimension.
younger generation of Norwegian composers
De nyere verkene på platen har alle tekster med with a growing interest in the choral medium.
“The child, unaware of my poignant listening,
drag av vemod, redsel eller uro tilknyttet barn- ”Barnet, som ikke aner at jeg beveget lytter, har
Hath blessed my heart with sombre sounds…”
dommen. Folketonene er et tappert forsøk på å velsignet mitt hjerte med dunkle lyder …” The more recent works on the disc set texts all
gi trøst i denne ubarmhjertige verden. of which have a certain melancholy, fear or unrest
KJETIL ALMENNING
KJETIL ALMENNING
NIDAROS STRYKEKVARTETT
Nidaros 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.
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.
SANGERE
SOPRAN 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)
NIDAROS STRING QUARTET
Nidaros 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.
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.
SINGERS
SOPRANO 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 GUT SLEEP, SLEEP, LITTLE BOY
UKJENT 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 Zügen
könnt ihr das Paradies zurückbeschwören;
es lächelt süß, als lauscht' es Engelschören,
den Mund umsäuselt himmlisches Vergnügen.
O schweige, Welt, mit deinem Lauten Lügen
die 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 überfallen
als wenn es auf die stille Heide regnet,
wenn im Gebirg' die fernen Glocken hallen.
Nikolaus Lenau
THE VOICE OF THE CHILD
A child asleep! O still! In these features
Ye 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 dream
And retreat, oblivious, into innocence!
UNKNOWN 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, KIND, das; -[e]s, -er [mhd.
the cows are still at rest. kint, ahd. kind, eigtl. = Gezeugtes,Geborenes, subst.
2. Part. eines Verbstammes mit der Bed.
»gebären, erzeugen«]:
The child, unaware of my poignant listening,
1. a) noch nicht geborenes, gerade od. vor noch nicht langer
Hath blessed my heart with sombre sounds, Zeit zur Welt gekommenes menschliches Lebewesen;
More than the rustling of trees in Neugeborenes, Baby, Kleinkind: ein gesundes, kräftiges,
the silent forest
neugeborenes, tot geborenes, ungewolltes, unerwünschtes,
A homesickness has come over me lang ersehntes K.; das K. im Mutterleib; ein K. wird geboren,
Deeper then when it rains in the silent heath
Or when the distant bells chime in the mountains kommt zur Welt; wie soll das K. heißen?; das K. ist ein
Translation: Jaakko Mäntyjärvi
Mädchen, ein Junge; ein K. [von jmdm.] haben wollen; ein K.
zeugen, erwarten, zur Welt bringen, austragen, abtreiben; sie
BARNETS STEMME bekommt, kriegt gerade ihr K.; sie bekommt, kriegt ein K. (ist
Et sovende barn! Å, stille! I disse dragene
schwanger); das K. füttern, stillen, trockenlegen, wickeln; er
kunne du sverge på at Paradiset er vendt tilbake; ist der Vater ihres -es; sie wurde von einem
det smiler søtt, som om det hører englekor, gesunden K. entbunden; …
rundt munnen leker en himmelsk glede.
Vær stille, verden, med dine høyrøstede løgner (Duden - Deutsches Universalwörterbuch)
ikke 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 heden
og når de fjerne klokkene klinger i fjellene.
 BÅNSULL LULLABY
FRA ØSTERDALEN FROM ØSTERDALEN

Sulla meg litt du mamma mi, Sing me a lullaby, mother,

ska du få snor i trøya di. and you shall have a ribbon for your dress.
Vil du ha gule? Vil du ha blå? Do you want yellow or blue?
Vil du ha blanke ska du det få, A bright ribbon is yours if you like,
på trøya di, du mamma mi. mother, for your dress.

WIE EIN KIND: I LIKE A CHILD: I SOM ET BARN: I KIND subst. –en –er
– WIIGEN-LIED – LULLABY – VUGGEVISE • mjuk del av ansiktet vid sidan av näsa och mun: han smekte
1) henne ömt på ~en; han kysste sin mor på ~en; med blossande
G’ganggali ging g’gang, g’gung g’gung! ~er; smilgropar i ~erna; tårarna rullade över hennes ~er;
Giigara-Lina Wiiy Rosina.
G’ganggali ging g’gang, g’gung g’gung! ibl. med tanke på hela ansiktet: blek om kinden
Rittare-Gritta, d’Zittara witta.
G’ganggali ging g’gang, g’gung g’gung! (Svensk ordbok, Norstedts)
Giigaralina, siig R a Fina.
G’ganggali ging g’gang, g’gung g’gung!
Fung z’Jung, chung d’Stung.
Adolf Wöfli

2)
Sorgen rammer alle,
ingen slipper,
i flæng slår sorgen os ned.
Ole Sarvig,
fra Per Nørgårds opera Siddharta
2) 2)
Grief affects everybody, Sorgen rammer alle,
no-one is exempt, ingen slipper,
grief strikes us down i fleng slår sorgen oss ned.
indiscriminately.
Ole Sarvig,
Ole Sarvig, fra Per Nørgårds opera Siddharta
from Per Nørgård’s opera Siddharta

BIA, BIA LITE BÅN SLEEP, SLEEP LITTLE CHILD

FRA VOSS FROM VOSS

Bia, bia lite bån, å bia lite båne. Sleep, sleep little child, o sleep little child.
Å fuglen sit på bjørkekvist og syng så ven ei vise, A bird sits in the birch tree singing a pretty song,
men den vesle guten min han må få noko av rise. but I must take a switch to my little boy.
 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 earth
is like a child that knows many poems,
many, o, many … For the burden
of long learning she wins the prize.
Her teacher was strict. We liked the white
of the old man’s beard.
Now, what shall we call the green, the blue,
we venture to ask: she knows, she knows!
BIE, BIE LITE BÅN
FRA 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.
Earth, you have freedom and fortune, play
with 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 tall
heavy 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.
KIND substantiv, fælleskøn
Streng var hennes lærer. Vi likte det hvite Bøjning -en, -er, -erne
i den gamle mannens skjegg.
Nå, hva skal vi kalle det grønne, kalle det blå,
Oprindelse oldnordisk kinn, gotisk kinnus, latin gena.
våger vi å spørre: Hun vet det, hun vet det! Betydninger hver af ansigtets to bløde sideflader,
Jord, som nå har fri, du heldige, lek
under øjet og ved siden af næse og mund.
nå med barna. Vi vil fange deg, Eksempler indfaldne kinder  blussende/røde
lykkelige jord. De gladeste lykkes. kinder et kys på kinden  kysse nogen på kinden klappe/ae
Å, det hennes lærer lærte henne, så mye, nogen på kinden  danse kind mod kind.
og det som kan leses av røtter og lange
tunge stammer: hun synger, hun synger! (Den danske ordbog)
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.
 THE STOLEN CHILD DET STJÅLNE BARNET
Where dips the rocky highland
Of Sleuth Wood in the lake,
There lies a leafy island
Where flapping herons wake
The drowsy water rats;
There we've hid our faery vats,
Full of berrys
And of reddest stolen cherries.
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.
Where the wave of moonlight glosses
The dim gray sands with light,
Far off by furthest Rosses
We foot it all the night,
Weaving olden dances
Mingling hands and mingling glances
Till the moon has taken flight;
To and fro we leap
And chase the frothy bubbles,
While the world is full of troubles
And anxious in its sleep.
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.
Der det steinete høylandet
i Sleuth-skogen senker seg ned i innsjøen,
ligger en grønn øy
der flaksende hegrer vekker
de søvnige vannrottene;
Der har vi feer gjemt våre kar,
fulle av bær
og av de rødeste, stjålne kirsebær.
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.
Der bølgen av måneskinn
gjør den dunkle grå sanden blank,
lengst der ute ved Rosses
danser vi hele natten,
vever gamle trinn,
gir hverandre hender og blikk
til månen har flyktet;
Vi springer frem og tilbake
og jakter på de skummende boblene,
mens verden plages
og er engstelig i søvnen.
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.
Where the wandering water gushes
From the hills above Glen-Car,
In pools among the rushes
That scarce could bathe a star,
We seek for slumbering trout
And whispering in their ears
Give them unquiet dreams;
Leaning softly out
From ferns that drop their tears
Over the young streams.
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.
Away with us he's going,
The solemn-eyed:
He'll hear no more the lowing
Of the calves on the warm hillside
Or the kettle on the hob
Sing peace into his breast,
Or see the brown mice bob
Round and round the oatmeal chest.
For he comes, the human child,
To the waters and the wild
With a faery, hand in hand,
From a world more full of weeping
than he can understand.
W.B. Yeats
Der det buktende vannet strømmer
fra høydene over Glen-Car,
i dammer blant sivet
der knapt en stjerne kan bade,
leter vi etter slumrende ørret
og hvisker dem i øret
slik at deres drømmer blir urolige;
Lener oss forsiktig ut
fra bregner som drypper sine tårer
over de nye bekkene.
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.
Nå går han bort med oss,
barnet med de alvorlige øynene:
Han kommer aldri mer til å høre rautingen
fra kalvene i den varme åssiden
eller kjelen på komfyren
som synger fred inn i brystet hans,
eller se de brune musene hoppe
rundt og rundt boksen med havregryn.
For han blir med, menneskebarnet,
til vannene og villmarken
med en fe, hånd i hånd,
fra en verden der det finnes mer sorg
enn han kan forstå.
 BÅNSULL LULLABY
FRA TELEMARK
Seidama deidama dei dam då,
seidama deidama dåa.
WIE EIN KIND: III LIKE A CHILD: III
– TRAUERMARCH – FUNERAL MARCH
MIT EINEM UNGLÜCKSFALL WITH AN ACCIDENT
G’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 ging
g’ g’ g’ g’ g’ g’ g’ g’ gali ging
g’gung g’gung
Adolf Wölfli
BYSJAN, BYSJAN LITE BÅN HUSH, HUSH LITTLE CHILD
FRA 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.
FROM TELEMARK
KIND2
— adjective having or showing a friendly, generous, and
considerate nature: she was a good, kind woman
SOM ET BARN: III
| he was very kind to me.
– SØRGEMARSJ
MED ET ULYKKESTILFELLE
• [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’
FROM ØSTERDALEN
Hush, hush little child, time to sleep, (Oxford Dictionary of English)
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.
 RECORDING
2L (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
PURE AUDIO BLU-RAY
Blu-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
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
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
 mShuttle
This 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 RECORDED AT URANIENBORG CHURCH, NORWAY
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 JANUARY 2010 BY LINDBERG LYD AS
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. Recording Producer and Balance Engineer MORTEN LINDBERG
2. Insert the Pure Audio Blu-ray Disc into your BD player Co-producer Cradle Songs FRANK HAVRØY
and press the mShuttle button after the disc is loaded. Assistant Engineer BEATRICE JOHANNESSEN
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. Editing JØRN SIMENSTAD
4. Select booklet and audio files to download from the Blu-ray to your computer. Mix, Mastering and Authoring MORTEN LINDBERG

Front Page Photo GETTY IMAGES

Artist Photo BLUNDERBUSS
Photo Uranienborg Church MORTEN LINDBERG
Norwegian translations KIRSTI VOGT / English translations ANDREW SMITH
Graphic Design BLUNDERBUSS

Musical Director KJETIL ALMENNING

Executive Producers KIRSTI VOGT and MORTEN LINDBERG
Blu-ray authoring msm-studios GmbH
audio encoding Morten Lindberg • screen design Dominik Fritz
Financially supported by Norsk Kulturråd, MFO and Fond for Lyd og Bilde
authoring Martin Seer • project management Jakobus Ciolek
Blu-ray producers Johannes Müller and Morten Lindberg

www.2L.no

2L is the exclusive and registered trade mark

of Lindberg Lyd AS 20©10 [NOMPP1014010-110] 2L-076-SABD
This recording was made by Lindberg Lyd with DPA microphones, Millennia Media amplifiers and Worldwide distributed by Musikkoperatørene and www.2L.no
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.