Italian Sun and Nordic Freshness – Ragnhild Hemsing brings Vivaldi’s Four Seasons into dialogue with Norwegian folk music

Antonio Vivaldi’s The Four Seasons is one of the most famous works in the entire classical repertoire. In the interpretation of Norwegian violinist Ragnhild Hemsing, however, the work comes alive. How Vivaldi’s music sounds on the Hardanger fiddle – the iconic instrument of Norwegian folk music, whose sympathetic strings give the sound a distinctive depth and brilliance – can be heard on 16 April at the Arvo Pärt Centre and on 17 April at House of the Blackheads in Tallinn.

The programme includes Vivaldi / Hemsing’s cycle The Norwegian Seasons, as well as a selection of movements from Edvard Grieg’s timeless Peer Gynt, arranged by Tormod Tvete Vik for Hardanger fiddle and string orchestra. In these interpretations, the classical tradition meets a musical language inspired by Norwegian folk music, with the unique sound of the Hardanger fiddle at its centre.

We spoke with Ragnhild Hemsing about the surprising connections between Vivaldi and Norwegian folk music, the Hardanger fiddle, and what she hopes the audience will take away from this concert.

Antonio Vivaldi’s Four Seasons is strongly associated with Italian light and temperament. Did the idea of giving the work a Nordic perspective grow out of a desire to bring Vivaldi closer to your own experience – the way you perceive the changing seasons in Norway – or was it driven more by curiosity and the wish to explore new sonic possibilities?

I have played Vivaldi’s Four Seasons many times on the classical violin. But standing between two musical traditions, I became interested in exploring the connections between Vivaldi’s music and the Hardanger fiddle. I have always wanted to go deeper into the material. Perhaps this curiosity comes from my background – I have played both instruments since childhood, starting at the age of five.

In Valdres, the region of Norway where I come from, the folk music tradition has always been very strong and remains so today. I have always been fascinated by both the similarities and the differences between folk music and classical music, in playing style as well as in sound. For me, the classical violin and the Hardanger fiddle, along with their respective musical traditions, enrich one another. I enjoy approaching musical traditions in new and fresh ways, and the combination of these two worlds has become an essential part of my musical identity.

The aim of my Vivaldi project was to bring a new perspective to The Four Seasons, using the Hardanger fiddle as a Baroque instrument and incorporating ornaments and special trills from the folk music tradition of Valdres, which has developed in parallel with the Baroque tradition over the centuries.

You have mentioned that there are unexpected similarities between Vivaldi’s music and Norwegian folk music. What kind of similarities do you mean?

For me, the strongest similarities lie in ornamentation. That is why ornamentation plays such an important role in my Vivaldi project. I have tried to emphasise these connections and to show that techniques such as enflé – a swelling of the note – and trills link Vivaldi’s music with Norwegian folk traditions, particularly the music from the region where I grew up.

Vivaldi himself was inspired by Italian folk music when composing The Four Seasons, and this music sometimes bears remarkable similarities to Norwegian folk music. Perhaps this is not so surprising when we consider how cultures and traditions have influenced one another over time. I am convinced that further research would reveal a close affinity between the Hardanger fiddle and the viola d’amore. I would even say that although the Hardanger fiddle is a folk instrument, with its sympathetic understrings and distinctive sound, it can be seen as Norway’s own Baroque violin.

How does an audience react when hearing the Hardanger fiddle for the first time? Do you feel that the sound changes the way people listen?

From my experience, the audience is very curious, open and excited when they hear the Hardanger fiddle. Many people want to learn more about the instrument, its sound and the way it is played. I also sense that listeners sometimes perceive the sound as slightly exotic.

The Hardanger fiddle is Norway’s national folk instrument, and it is not traditionally found in any other country. The folk music tradition surrounding the instrument has been passed down in Norway from generation to generation since the early 17th century.

Edvard Grieg’s Peer Gynt is one of the great symbols of Nordic music. What was the most challenging or perhaps most daring aspect of approaching these works in new arrangements?

The idea and vision for my Peer Gynt project have been with me for many years. I have always felt that parts of this music would fit beautifully on the Hardanger fiddle with a string orchestra. Edvard Grieg himself said that Peer Gynt was inspired by Norwegian folk music. With that in mind, I wanted to explore the sound world of Peer Gynt more deeply and investigate the fascinating meeting points between folk music and classical music.

Is it important for you to break down boundaries between genres, or rather to show that those boundaries may not truly exist?

I believe those boundaries may not really exist. I consider myself a versatile musician, and I think that creative collaboration with different artists and different musical genres makes me a better musician. I enjoy exploring new forms and sound worlds with other artists – whether they come from classical music, Baroque, folk or jazz.

I also find it fascinating to bring together works by composers who were inspired by the folk traditions of their own countries. Sometimes these pieces fit together naturally, while at other times they create striking contrasts. And it is precisely such contrasts that open the door for the Hardanger fiddle – an instrument closely related to the classical violin but carrying the DNA of folk music. For me, there is no contradiction in having both instruments in the same programme or even playing the same music. What matters most is remaining open to new ideas.

The Tallinn Chamber Orchestra is known for its flexibility and sensitivity to detail. In a project like this, what do you value most in a musical partner – technical precision, space to breathe, or the courage to take risks?

For me, the most important thing is space to breathe – space for shared musical thinking and for discovering new approaches together. At the same time, flexibility and the courage to take risks are also essential.

If you had to describe in one sentence what you hope the audience will take away from these concerts, what would it be?

I hope the audience leaves the concert with a sense of connection – to the music, to tradition, and to something that feels both timeless and newly discovered. And I hope they experience the joy of discovery, hearing how familiar and new sounds can come together to create an unforgettable musical experience.

Norwegian violinist Ragnhild Hemsing is one of the most distinctive musicians in today’s classical music world. Born in the region of Valdres, she has been connected to Norway’s rich folk music tradition since childhood and has shaped her musical identity by bringing together the classical violin and the Hardanger fiddle. Hemsing performs regularly as a soloist on leading stages around the world and is dedicated to expanding the repertoire of the Hardanger fiddle and introducing the instrument to international audiences. She has released several acclaimed recordings and, together with her sister Eldbjørg Hemsing, is the founder and artistic director of the Hemsing Festival in Valdres.

Annika Lõhmus