PÅ TROLDHAUGEN Ten graphic impressions JOHAN KIPPENBROECK Edvard Grieg

Description: Dust jacket has wear and tear. Minor shelf handling wear to covers and pages. Gift inscription on front flyleaf. See pictures for a better idea of condition and content. (Printed in 1992 in a first edition of 1,500 copies of which 100 copies are specially bound, numbered from 1-100 and signed by the artist. This copy is not numbered and not signed.) OCR Scan (and ~translation) of some of the pages: PÅ TROLDHAUGENTi grafiske inntrykkTen graphic impressions十枚の版画による印象JOHAN H. KIPPENBROECKALMA MATER Denne boken er vier Troldhaugen og de to som bygget og bodde der. Tekst, Sonografier, tegninger og de ti fargerykkene er en kjærlighetserklæring til huset, til steder, al musikken og el de som har gjort Troldhaugen levende sentrum for Edvard Grieg og hats musikk.Helt at i boken stär Johan Kipperimecks 10 fargensinger, Trithang- gengin i originalomelser og farger, og hvor trykkingen er overväker av kunstneren. Oppslager for hvert enkelt fargerykk innledes med en spesialhegner pennetegning av motivet, og en tekst hvor vi får bakgrunnen for modis og motivale. Tekstene lykkene er på norsk, engelsk og japanskJohanne Grieg Koppenbeck gir et art og personlig poem av egne og andres møter med Traidhaugen, og formidler husets liv og historie og de tometineskienr som levde og attenter der shikar bade feminaryat ogning gir oss følelsen av å kjenne og å oppleve dem på en ny og ner måte.Nicolas A. Eppenbeck uyler ekstene med sine fografier både fra Trold-haugen og i kunstnerens anellier. Vi får også en skisse as Johan Kippenbroeckswiking frem mot billedkunsog taor der mersammeige arbeider ogden prosess som også ligger bak hats grafiske blad.ISEN ES-IS-15-7 ISBN 82-47115-DT-5 Spesialutige vennALMA MATER This book is devoted to Troldhaugen and the two who built and lived there. Text, sonographies, drawings and the ten bursts of color are a declaration of love to the house, to places, all the music and those who have made Troldhaugen a living center for Edvard Grieg and his music.The fact that the book features Johan Kipperimeck's 10 color songs, Trithanggengin in original compositions and colors, and where the printing is overseen by the artist. References for each individual color stroke begin with a special Hegner pen drawing of the motif, and a text where we get the background for modis and motivale. The lyrics are in Norwegian, English and JapaneseJohanne Grieg Koppenbeck gives a kind and personal poem of his own and othersres meets Traidhaugen, and conveys the life and history of the house and the twometineskienr who lived and attacks there shikar bade feminaryat andning gives us the feeling of knowing and experiencing them in a new and different way.Nicolas A. Eppenbeck shows the exts with his photographs both from Trold-the pile and in the artist's rings. We also get a sketch by Johan Kippenbroeckwiking forward towards visual artsand taor where mersammeige works andthe process that also lies behind Hat's graphic magazine.ISEN ES-IS-15-7 ISBN 82-47115-DT-5 Special friendALMA FEEDS JOHAN H. KIPPENBROECKPÅTROLDHAUGENTi grafiske inntrykk Ten graphic impressions十枚の版画による印象TekstJOHANNE GRIEG KIPPENBROECK Fotografier NICOLAAS A. KIPPENBROECKALMA MATER VANDRING I TROLSK VERDEN ENVinter. Sneen i Troldtrealléen er melkeblå i det kal- de lyset. Det knirker tørt under føttene. Ellers, stillhet. Ingen fugler, ingen mennesker, ikke en gang et fly der oppe på den dyp blå himmelen.Jeg er alene med skrittene mine. Det snurper kaldt i nesen for hvert åndedrag, knærne blir stive og jeg kjen- ner at jeg er for tynnkledd. Vi er ikke vant til slikt kaldvær her vest.Troldtrealléen. Det er visst bare vi som kaller den sis- te lille grusveibiten av Troldhaugveien for det. Forså- vidt er det også en tilsnikelse å kalle den allé. De for- vridde gamle bøketrærne står bare på den ene siden. På den andre er det en bergvegg, der vannsiget har frosset til klar glasur nå i kulden.Da jeg var barn var bøketrærne mye lavere. Kanskje fordi de var yngre, kanskje fordi noen beskar dem. Men de var trolske også den gang, og vandringen under dem satte fantasien i sving hos en liten jente. Her jeg går ser jeg på de nakne grenene som strekker seg mot himmel og bergvegg. Jeg ser opp til stjerne- himmelen. Om sommeren, når trærne er løvkledd, lig- ger et vakkert, grønt tak over veien.ron tro om de kjente det like isnende, Nina og M Edvard Grieg, de to som levde her på Hop for lenge siden. Ofte fikk de besøk fra København, av Ninas søster, og da vandret de turer i nabolaget. «Det lille Troldtoget, het de på folkemunne. Først gikk Edvard, så Nina, og til sist Ninas søster Tony Hage- rup, tre småvokste mennesker, vandrende i en slags gåsegang. Kanskje lyttet også de til stillheten, eller til sine egne trinn i knirkende sne?Nei, vinteren fristet dem vel ikke til spasertur. Og en. bolig på en forblåst knaus ved et vestnorsk vann eg- net seg ikke som vinterhi for en mann med dårlige lunger.De bodde bare fire vintre på Troldhaugen. Det var mer enn nok for komponisten. Når høst- og vinter- stormene feiet over Nordåsvannet, fant vinden seg lettvei gjennom kledningen i det dårlig isolerte huset. Da hutret de seg gjennom dagene, de to der ute. Og hvem orket vel å dra på besøk ut i sødemarken til dem under slike forhold, selv om vertsfolket var aldri så inspirerende.Nei, Troldhaugen var en dårlig helårsbase. Det var vel heller ikke praktisk å bo der om vinteren, ettersom mesteparten av Edvard Griegs oppgaver som utøvende musiker foregikk alle andre steder enn i Bergen. De gjorde som trekkfuglene, han og Nina, dro mot nord først når draget i luften var blitt mildt, når konsertsesongen var avsluttet i Europa.e knirkende fottrinnene passerer den store smi- Djernsporten til Stølen, Troldhaugens nærmeste nabo mot sør. Inn dit var det jeg svingte når jeg som barn skulle på besøk til mine besteforeldre. De er for lengst borte, og nå skal jeg videre, på komponist- besøk, som så mange ganger før.Skjønt, komponistbesøk? Jeg har jo aldri truffet ham, Edvard Grieg. Jeg møter ham først og fremst gjennom musikken, slik den formidles til meg, og gjennom hans egne ord, nedtegnet i artikler og taler. Nina er jeg heller ikke gammel nok til å ha sett. Henne kjenner jeg bare gjennom det andre har fortalt.Kanskje kjenner jeg komponisten også litt gjennom meg selv og mine nære slektninger. Noe av det samme blodet renner også i oss. Når jeg ser bilder, kan jeg undre meg over likhet i ansiktstrekk, og når jeg leser om ham, kan jeg i blant more meg over reaksjoner som jeg har sett hos andre Grieger. Jeg griper meg i å gå her som om Troldhaugen skulle være en del av min private arv. Og slik tror jeg veldig mange av de som kommer hit føler det. Vi eier alle en liten flik av Ed- vard Grieg. Han har gitt oss musikk som vi forstår med hjertet. Hjemmet hans gir oss en dypere nærhet til mennesket bak musikken. Her føler vi oss hjemme. Tøvete? Noe man tenker bare fordi man tilfeldigvis har Grieg med i navnet? Nei, jeg tror ikke det. Man blir ikke nødvendigvis musikalsk av å hete Grieg. Man behøver ikke en gang å like musikk. Men EdvardGriegs musikk taler til de fleste.5 WALKING IN THE WILD WORLD ONEWinter. The snow in Troldtreallée is milky blue in the cold light. It creaks dry underfoot. Otherwise, silence. No birds, no people, not even a plane up there in the deep blue sky.I am alone with my steps. My nose snorts cold with every breath, my knees become stiff and I feel that I am too thinly dressed. We are not used to such cold weather here in the west.Troldtrailen. It's probably only us who call the last little bit of gravel road off Troldhaugveien that. To that extent, it is also an understatement to call it avenue. The twisted old beech trees stand only on one side. On the other there is a rock wall, where the water seepage has frozen into a clear glaze now in the cold.When I was a child, the beech trees were much lower. Maybe because they were younger, maybe because someone pruned them. But they were magical even then, and walking under them set a little girl's imagination in motion. Here I walk, I look at the bare branches that stretch towards the sky and rock wall. I look up to the starry sky. In summer, when the trees are covered in leaves, a beautiful, green roof lies over the road.ron believe if they knew it as icy, Nina and M Edvard Grieg, the two who lived here at Hop a long time ago. They were often visited from Copenhagen, by Nina's sister, and then they went for walks in the neighbourhood. "The little Trolltoget, they called it in the vernacular. First Edvard walked, then Nina, and finally Nina's sister Tony Hagerup, three small people, walking in a sort of goose-step. Perhaps they too were listening to the silence, or to their own footsteps in the crunching snow?No, winter probably didn't tempt them to go for a walk. And a. a dwelling on a windswept knoll by a western Norwegian lake was not suitable as a winter den for a man with bad lungs.They only lived four winters at Troldhaugen. It was more than enough for the composer. When the autumn and winter storms swept over Nordåsvannet, the wind found its way easilyway through the cladding in the poorly insulated house. Then they shivered their way through the days, the two of them out there. And who could bear to visit them in their sweet fields under such conditions, even if the hosts were never so inspiring.No, Troldhaugen was a bad year-round base. Nor was it practical to live there in the winter, as most of Edvard Grieg's duties as a performing musician took place elsewhere than in Bergen. They did as the migratory birds, he and Nina, went north only when the draft in the air had softened, when the concert season had ended in Europe.e creaking footsteps pass the large forge Djernsporten to Stølen, Troldhaugen's closest neighbor to the south. That's where I turned when, as a child, I was going to visit my grandparents. They are long gone, and now I am going on, to visit composers, as so many times before.Although, composer visit? I have never met him, Edvard Grieg. I meet him primarily through the music, as it is conveyed to me, and through his own words, recorded in articles and speeches. Nina, I'm not old enough to have seen either. I only know her through what others have told me.Perhaps I also know the composer a little through myself and my close relatives. Some of the same blood also flows in us. When I see pictures, I can marvel at the similarity in facial features, and when I read about him, I can sometimes be amused by reactions that I have seen in other Greeks. I take it upon myself to walk here as if Troldhaugen should be part of my private heritage. And I think that's how many of those who come here feel. We all own a small piece of Edvard Grieg. He has given us music that we understand with our hearts. His home gives us a deeper closeness to the man behind the music. We feel at home here. Hesitating? Something you think just because you happen to have Grieg in the name? No I do not think so. Being called Grieg does not necessarily make you a musician. You don't even have to like music. But EdwardGrieg's music speaks to most people.5 nelende ærbødig, og lot fingrene løpe over tangent- ene, takknemlig som et barn. Er dette virkelig Edvard Griegs eget flygel? spurte han, og var plutselig bare et lite menneske som kjente pustet av stor ånd. Jeg tror at akkurat de minuttene, da fingrene lekte seg over Griegs tangenter, var mer verd for ham enn bi- fallsbruset fra en stor konsertsal.Sigmund Torsteinson hadde et helt spesielt forhold til dette huset og til de to som en gang bodde her. Her jeg står utenfor ser jeg også ham for meg, introduse- rende konsertene der ved flygelet, alltid med en liten historie, et sitat, ord skrevet av Edvard Grieg selv. Jeg husker hvordan forventningen steg i meg når jeg hørte ham, hvordan jeg gledet meg til konserten. Selv om jeg hadde hørt ham mange, mange ganger, lærte jeg alltid noe nytt.en lille spaserveien ned til komponisthytten er Dglatt og jeg går forsiktig. Hytten slumrer i vinter- freden, og jeg titter inn gjennom den smale glassruten i daren. Jeg morer meg alltid over stolen foran piano- et. Den må ha vært litt for lav, eller helst var det vel Edvard Grieg som var litt for liten. For å komme i riktig spillehøyde måtte han i alle fall sitte på et stort notehefte. At han valgte Beethovens sonater i en ut- gave av berømte Ignaz Moscheles, hans favorittlærer ved konservatoriet i Leipzig, skyldes vel at det var det tykkeste heftet han hadde. Det inspirerte neppe mer enn et annet ville ha gjort.Det store skrivebordet ved vinduet er litt smårotet som skrivebord flest, og på bunken med notepapir ligger en stein. Sigmund Torsteinson har fortalt at komponis- ten etter endt arbeidsdag skal ha lagt en liten lapp øverst på notene, der det sto: Om noen bryter inn, bes han om å skåne notene. De har dog ingen verdi for andre enn Edvard Grieg.. Så feil kunne han ta!m sommeren vokser det revebjeller og lyng langs veien ned til hytten. Det lyser gulgrønt i mose- grodd stein, og på regnværsdager drypper det fra Troldsalens torvtak, som for lengst har drukket seg utørst etter siste regnskyll. Jeg husker diskusjoneneHva tenker de, menneskene, som titter inn i kompo- nisthytten?som gikk før byggingen av Troldsalen. Den ville ade- legge eiendommen, mente mange. Men idéen var unn- fanget av Sigmund Torsteinson, og var det et mennes- ke som ikke ville drømme om å foreta seg noe som kunne ødelegge Troldhaugen, måtte det være ham. Det er da også blitt en fantastisk fin bygning, synes jeg her jeg står. Jeg er sikker på at Edvard Grieg ville13En lapp ma beskjed tyver lign fremdeles i Griegs a beidsbord12 bowing reverently, and let his fingers run over the keys, grateful like a child. Is this really Edvard Grieg's own grand piano? he asked, and was suddenly only a small person who felt the breath of great spirit. I believe that those exact minutes, when his fingers played over Grieg's keys, were worth more to him than the roar of applause from a large concert hall.Sigmund Torsteinson had a very special relationship with this house and with the two who once lived here. Standing outside, I can also see him introducing the concerts there at the grand piano, always with a little story, a quote, words written by Edvard Grieg himself. I remember how anticipation rose in me when I heard him, how I looked forward to the concert. Even though I had heard him many, many times, I always learned something new.a little walk down to the composer's cabin is smooth and I walk carefully. The cabin is slumbering in the winter peace, and I look in through the narrow glass pane in the porch. I am always amused by the chair in front of the piano. It must have been a little too low, or rather it was probably Edvard Grieg who was a little too small. In any case, to get to the right playing height, he had to sit on a large sheet of music. The fact that he chose Beethoven's sonatas in an edition by the famous Ignaz Moscheles, his favorite teacher at the conservatory in Leipzig, is probably due to the fact that it was the thickest booklet he had. It hardly inspired more than another would have done.The large desk by the window is a little cluttered like most desks, and on the pile of notepaper is a stone. Sigmund Torsteinson has said that after the end of the working day, the composer must have put a small note at the top of the sheet music, which read: If someone breaks in, he is asked to spare the sheet music. However, they have no value for anyone other than Edvard Grieg.. He could be so wrong!m summer, foxgloves and heather grow along the road down to the cabin. It glows yellow-green in moss-grown stone, and on rainy days it drips from the Troldsalen's turf roof, which has long since drunk itself without thirst after the last downpour. I remember the discussionsWhat do those, the people, who look into the composer's cabin think?which preceded the construction of the Troldsalen. It would ennoble the property, many thought. But the idea was conceived by Sigmund Torsteinson, and if there was a person who wouldn't dream of doing something that could destroy Troldhaugen, it had to be him. It has also become a fantastically beautiful building, I think from where I stand. I'm sure that Edvard Grieg would13A note with a message for thieves is still in Grieg's dressing table12 Hjørnet med sofaen var derfor også et nokså selvskrevet valg til det andre av de to interiermotivene i suitesDet knytter seg en liten merkverdighet til denne eningen. Først hadde jeg plassert en liten pike i hvitsofaen. På den første utstillingen ble trykket vist medhenne i sofaen. Jeg var imidlertid ikke helt fornøydmed etsningen. Den brot klart med de andre i suiten,som er uten figurer i forgrunnen. Jeg tok derfor pikenvekk i en korrigert versjon, og makulerte alle trykksom fantes med henne på.Siden fikk jeg høre at Nina Grieg fødte en datter, som bare ble litt over et år gammel. Studerer man den s platen nøye, kan man ennå se konturene av den l le piken. Trykk finnes ikke mer. Etsningen viser nå stuen etter en konsert. Stolene strtomme, og på bordet en vase med noen tulipaner.Kanskje fra en kunstnerbukett?Tulips in the living roomTULIPANER STUENJ må med skam bekjenne at jeg aldri har likt å være inne i huset under festspillenes Troldhaugkonserter. For meg er konsertene der ute like mye trærnes sus, fuglesangen og andre kanskje mer eller mindre sjene- rende lyder fra nabolaget. Derfor vet jeg ikke hvor mange mennesker som egentlig får plass der inne, oghvordan sitteplassene er arrangert. Riktignok har jeg sett fotografier, spesielt reportasje- bilder fra ipningskonserter i festspillsammenheng, hvor prominente gjester så å si inntar sine årlige faste plasser. Den eller den har tradisjonell hevd på sin stol. Andre igjen får lov til å innta en av hedersplassene den sorte sofa ved veggen tvers overfor flygelet. Jeg tenker kanskje spesielt på min kones bestemor, som en del år var den eldste representant for Grieg- familien i Bergen, og på hvor glad den gamle damen var over i bli invitert til å innta en av hedersplassene nettopp i sofaen40must confess rather ashamedly that I have never liked being inside the house during the Trold haugen concerts. For me, the wind rustling in the trees, the birds singing and perhaps other more or less disturbing sounds from the neighbourhood are intrinsic components of the open air concerts. Conse quently I don't know how many people there is room for inside, or how the seating is arranged.It is true that I have seen photographs from the Ma sic Festival opening concerts, especially those taken when prominent guests are finding what may be called their permanent seats. This one and that one have by tradition their own chair. Still others are permitted to take a place of honour on the black sofa by the wall directly opposite the piano. Maybe I am thinking of my wife's grandmother, who for some years was the oldest representative of the Grieg family in Bergen. and of how happy the old lady was being invited to take one of the places of honour on that very sofa. The corner with the sofa was therefore a natural choiceEnergj K The corner with the sofa was therefore also quite self-containedknow choice for the second of the two interior motifs in suitesThere is a small strangeness associated with this enothing. First I had placed a little girl in whitethe sofa. At the first exhibition, the print was shown withher on the sofa. However, I was not completely satisfiedwith the etching. It clearly broke with the others in the suite,which are without figures in the foreground. I therefore took the girlaway in a corrected version, and shredded all printswhich existed with her on.I later heard that Nina Grieg gave birth to a daughter, who was just over a year old. If you study the plate carefully, you can still see the contours of the little girl. Print is no longer available. The etching now shows the living room after a concert. The chairs sizeempty, and on the table a vase with some tulips.Perhaps from an artist's bouquet?Tulips in the living roomTULIPS THE LIVING ROOMJ must confess with shame that I have never liked being inside the house during the festival's Troldhaug concerts. For me, the concerts out there are just as much the rustle of the trees, the birdsong and other perhaps more or less disturbing sounds from the neighbourhood. Therefore, I don't know how many people can actually fit in there, andhow the seating is arranged. Admittedly, I have seen photographs, especially reportage pictures from iping concerts in the context of a festival, where prominent guests, so to speak, take their annual permanent seats. He or she has a traditional claim to his seat. Others are allowed to occupy one of the places of honor, the black sofa by the wall across from the grand piano. I am perhaps particularly thinking of my wife's grandmother, who for a number of years was the oldest representative of the Grieg family in Bergen, and of how happy the old lady was to be invited to take one of the places of honor precisely on the sofa40must confess rather ashamedly that I have never liked being inside the house during the Trold haugen concerts. For me, the wind rustling in the trees, the birds singing and perhaps other more or less disturbing sounds from the neighborhood are intrinsic components of the open air concerts. Consequently I don't know how many people there is room for inside, or how the seating is arranged.It is true that I have seen photographs from the Masic Festival opening concerts, especially those taken when prominent guests are finding what may be called their permanent seats. This one and that one have by tradition their own chair. Still others are permitted to take a place of honor on the black sofa by the wall directly opposite the piano. Maybe I am thinking of my wife's grandmother, who for some years was the oldest representative of the Grieg family in Bergen. and of how happy the old lady was being invited to take one of the places of honor on that very sofa. The corner with the sofa was therefore a natural choiceEnergy K が居ないと不協和音を発しています。それで修正加筆し、少女を外した最終版を作りました。残っていた少女の居るプリントは全部破り棄てました。ニーナ・グリークはたった一人の女の子を産みましたが、一年余りで幼児をなくしています。黒い鋼の原版をよく見ると小さな少女の輪郭が判別できます。プリントの方はもう一枚も残っていません。quite for the other of the two interior motifs in the suite. ing. In my first etching I had placed a little girl in There is a rather curious story attached to this etch- shown with the child on the sofa. I was, however, not white on the sofa. At the first viewing the print was e satisfied with the etching. It was such a decided break with the other motifs which do not have figures I removed the girl and destroyed all the prints with in the foreground. Therefore, in a corrected version, her in them.この作品はコンサートの終わった後を描いたものです。ソファーに人影はなく、テーブルの花瓶にはチューリップがいくつか挿してあります。芸術家に贈られた花束から抜き取られたものでしょうか。Later I heard that Nina Grieg had had a daughter who lived just a little more than a year. A close examina- tion of the black plate reveals the contours of the little girl, but there are no more prints.The present etching shows the living room after a concert. The chairs are empty, and on the table there is a vase of tulips. From an artiste's bouquet perhaps?居間のチューリップ私は芸術際のトロルドハウゲンコンサートを邸のなかで聴くのが好きではないことを認めなければなりません。私にとってのコンサートは、戸外で木々のそよぎ、鳥のさえずり、近隣の物音と供にあります。ですから中に何人ぐらい居てどんなふうに客席が設らえてあるのか知りません。芸術際の一環として開かれるオープニングコンサートの写真記事を見たことがありますが、それによると著名人が毎年決まった席についています。誰それさんは自分の定席を確保していたり、壁際にピアノと並んで置かれている黒いソファーの名誉席に座っている人も見えます。私は特に妻の祖母のことを思い浮かべます。祖母は当時ベルゲンのグリーク家最長老でしたが、あの名誉の黒椅子に招待されるのをどんなに喜んでいたことでしょう。そんな訳でこの作品に描いたソファーのあるコーナーは、セットになっている他の二つの室内画に比べてかなり自由に構成しました。このエッチングについてはちょっとした曲折があります。最初私は白い服の少女をソファーに座らせました。初めの展覧会ではこの少女の作品をプリントして展示しましたが、一一方で満足できずにいました。もう2枚の室内連作一前景に人物43 If there is no , it emits a dissonant sound. So I revised it and made the final version without the girl. I threw away all the prints with the remaining girl.Nina Grieg gave birth to only one girl, but in just over a year she lost her infant. If you look closely at the black steel plate, you can discern the outline of a small girl. There is no more print left and she is gone.quite for the other of the two interior motifs in the suite. ing. In my first etching I had placed a little girl in There is a rather curious story attached to this etch- shown with the child on the sofa. not white on the sofa.At the first viewing the print was e satisfied with the etching.It was such a decided break with the other motifs which do not have figures I removed the girl and destroyed all the prints with in the foreground. in a corrected version, her in them.This work was painted after the concert was over. There is no one on the sofa, and there are some tulips in a vase on the table. Was it taken from a bouquet given to the artist?Later I heard that Nina Grieg had had a daughter who lived just a little more than a year. A close examination of the black plate reveals the contours of the little girl, but there are no more prints.The present etching shows the living room after a concert. The chairs are empty, and on the table there is a vase of tulips. From an artiste's bouquet perhaps?tulips in the living roomI have to admit that I don't like listening to the Troldhaugen concerts inside the house. For me, his concerts are outdoors with the rustling of trees, the chirping of birds, and the sounds of the neighborhood. So I don't know how many people are inside and how the seats are arranged.I've seen a photo article of the opening concert held as part of the art festival, and according to it, a celebrity has a seat at his seat every year. Some have reserved their own seats, while others can be seen sitting in honorary seats on black sofas alongside pianos along the walls. I especially think of my wife's grandmother. Her grandmother was then the eldest of the Greeks in Bergen, and how delighted she was to be invited to the Black Chair of Honor.prize. For this reason, the corner with the sofa in this work was composed much more freely than the other two interior paintings in the set. There is a slight twist to this etching. First I made a girl in white sit on the sofa. At the first exhibition, I printed and exhibited the work of this girl, but on the other hand, I was not satisfied. Two more indoor series: A person in the foreground43 Selv om dette er en kjærkommen kontakt med Trold- haugen på denne årstiden, så er den helt annerledes enn vi er vant til. Vi kommer i mørket og går igjen i market, og får ingen kontakt med omgivelsene, som er så viktige for vårt forhold til stedet. Annerledes var det da vi bestemte oss for å ta en spa sertur til Troldhaugen en hvit og kald juledag, og fant motivet til den siste etsningen i suiten. Nederst i Trolddalen lå komponisthytten som i vin- terdvale under sitt hvite dekke, og lav vintersol tegnet skygger på den uberørte sneen. Det syntes galt à for- styrre, og vi lot sneen forbli uberørtChristmas sunshineJULESOLnovember og desember, de morkeste vintermåned- ene, mister vi mer eller mindre kontakten med Troldhaugen. Noen unntak har det likevel vært de sis- te årene. Hver 24. november arrangeres en sammen- komst i huset for å feire Nina Griegs fødselsdag, og vi har noen ganger hatt gleden av å få være med på feiringen.Det er en festlig begivenhet, levende lys overalt i stue- ne, god mat, inspirerte taler og, fremfor alt, Griegs mikk Siste gang fikk vi til og med høre Nina Griegs sang i opptak fra gamle voksruller. Det var nesten litt wvirkelig i høre hennes stemme der og da.November and December, the darkest winter I months, we more or less lose touch with Trold haugen. However, there have been some exceptions in recent years. Every 24 November there is an arrange- ment in the house to celebrate Nina Grieg's birthday, and sometimes we have had the pleasure of joining in the celebrations.It is a joyous event: lighted candles everywhere in the living rooms, good food, inspired speeches and, first and foremost, Grieg's music. On the last occasion we heard Nina Grieg singing some recordings taken from old wax rolls. Hearing her voice there and then pro- duced a feeling of other-worldliness.Even if these occasions afford a welcome contact with at that time of the year, it is quite unlike Troldhaugen what we are used to. We arrive in the dark and leave the dark without having any contact with the sur- roundings which are such an important part of our to the place. relationship帰るので周りの景観、それはグリーク部と切りない重要な意味を持つているのですが、この雰囲気に接することがありません。It was quite different when we decided to take a walk one cold, white Christmas day, and Troldhaugen found the motif for the last etching of this suite. Down at the lowest level in Trolddalen (Troll valley) under its white cover, and the low winter sun sketched shadows on the untouched snow. It seemed unfitting to intrude, so we left the snow as it was- undisturbed, de composer's cottage lay as if it were hibernating異なった印象といえばまた私たちがいのクリスマスに使ルドハウゲンまで散歩したときのことです。そこで作物のエッチングのモチーフを見つけました。トロル谷の下には、作曲小舎が白な雪に覆われている冬籠しているようなたたずまいを見せ、低い冬日は分けえる人のない雪の上に長い影をくっきりと描いています。足跡をつけでは悪いように思え、私たちは雪に難み入らずにそっとを去りました。 ●トロルドハウゲン:グリークの時。クリスマスの太陽11月、12月という一番暗い冬の季節には、あまりトロルドハウゲンを訪ねる人もいません。しかし最近は特別な催しが開かれています。毎年12月24日にはニーナ・グリークの誕生日をってこの家で集会がもたれ、何度か私たちもお祝に参加しました。楽しい集まりです。キャンドルの灯が居間のあちこちに映え、おいしい料理と印象的なスピーチ、そしてもちろんグリークの音楽。この前は、旧いワックス引きローラーで録音されたニーナグリーク自身の歌を聴く事も出来ました。この家で彼女の歌声を聴くのは何か不思議な感じがするものです。この催しはもとより喜ばしいものではありますが、季節柄、日頃慣れ親しんだ趣と全く異なった印象を受けます。暗い中を来て暗い中を r strekene og skraveringen kommer tonene, fra E det lyseste grå til det dypeste sorte. De kommer aved at platen bestros med harpikspulver som smel- as fast til platens overflate. Når en slik preparert pla- kommer i syrebad, graver syren seg ned i platen slags randt de beskyttende harpikskornene. Trykker man deretter platen, viser den en fargetone med Jornet struktur. Harpikspartiklene står som hvite prikker på svart eller grå bunn. Jo dypere man etser, jo svartere farge. Også her gjennomgår platen mange stadier. Ny harpiks smeltes på og tonene korrigeres og moduleres med skavjern, til det endelige sorte tryk- ket, som har alle de rette streker og valører, kan taesi pressen. Deretter følger fargeplatene som, etter at tegningen fra den svarte platen er overført på dem, gjennomgår den samme kompliserte og tidkrevende prosessen. Og heletiden tar han provetrykk av de enkelte platene og sam trykk med flere farger for & kontrollere hvordan de forskjellige fargene arbeider sammen.Ca ligger da endelig et sett plater bestående av tre Seller fire farger klar på bordet. Trykking av en del av opplaget kan begynne.Trykkene tas på syrefritt klutepapir som rives for hind til rett størrelse. Papiret må i vannbad, for trykket skal tas på fuktig papir.Innfarging av platene begynner. Platene farges med hver sin farge, slik at den enkelte platen er fullstendig dekket. Overskytende farge fjernes med tarlatankluter og papirbiter, til det nedgravete motivet holder akku- rat rett fargemengde, en prosess som krever mye tid og nayaktighet. Blir for mye av fargen slätt av, blir trykket for lyst, og er der for mye farge, blir resulta- tet det motsatte.Papiret rives til riktig format.....og legges i vannbad.Platen farges inn.Platen legges på plass i pressen.6667 r the lines and shading come the tones, from E the lightest gray to the deepest black. They come by sprinkling the plate with resin powder which is fused to the plate's surface. When such a prepared plaque enters an acid bath, the acid digs into the plate around the protective resin grains. If you then press the plate, it shows a color tone with Jornet structure. The resin particles stand as white dots on a black or gray background. The deeper you etch, the blacker the colour. Here, too, the plate goes through many stages. New resin is melted on and the tones are corrected and modulated with a sanding iron, until the final black print, which has all the right lines and denominations, can be takenin the press. Then follow the color plates which, after the drawing from the black plate is transferred onto them, undergo the same complicated and time-consuming process. And wholeAt the same time, he takes test prints of the individual plates and co-prints with several colors to & check how the different colors work together.Finally, a set of plates consisting of three Sellers four colors is ready on the table. Printing of part of the circulation can begin.The prints are taken on acid-free tissue paper that is torn to the right size. The paper must be in a water bath, because the print must be taken on damp paper.Coloring of the plates begins. The plates are dyed with a separate colour, so that the individual plate is completely covered. Excess color is removed with tarlatan cloths and pieces of paper, until the buried motif holds just the right amount of color, a process that requires a lot of time and precision. If too much of the color is smoothed out, the print will be too bright, and if there is too much color, the result will be the opposite.The paper is torn to the correct format.....and placed in a water bath.The plate is colored in.The plate is placed in place in the press.6667 PÅTROLDHAUGENALMA MATER FORLAG AS 1992ISBN 82-419-0109-7 ISBN 82-419-0113-5, spesialutgaven.Engelsk oversettelse: Tui Mikkelsen. Japansk oversettelse: Masaoki Adachi.Boken er satt med 12p Garamond på 14p kegel og trykt på 150 g aldringsbestandig Lässebo-offsetpapir fra Munkedal AB. Sats og trykk: John Grieg Produksjon A/S, Bergen. Reproduksjonsarbeid: Klisjekunst EN A/S, Bergen. Bundet med Skivertex og Brillianta shirting av Norbok A/S, Gjøvik-Oslo.Trykket i 1992 i et førsteopplag på 1500 eksemplarer hvorav 100 eksemplarer er spesialinnbundet, nummerert fra 1-100 og signert av kunstneren. ONTROLDHAUGENALMA MATER PUBLISHING AS 1992ISBN 82-419-0109-7 ISBN 82-419-0113-5, special edition.English translation: Tui Mikkelsen. Japanese translation: Masaoki Adachi.The book is set with 12p Garamond on 14p cone and printed on 150 g aging-resistant Lässebo offset paper from Munkedal AB. Set and print: John Grieg Produksjon A/S, Bergen. Reproduction work: Klisjekunst EN A/S, Bergen. Bound with Skivertex and Brillianta shirting by Norbok A/S, Gjøvik-Oslo.Printed in 1992 in a first edition of 1,500 copies of which 100 copies are specially bound, numbered from 1-100 and signed by the artist.

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