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KAARE NORGE [b.1963]   | DK version nederst

Kaare Norge an international artist
by Bjarne Dalsgaard Svendsen

Kaare Norge has been one of the leading figures of Danish classical music for the last twenty years. He is a highly educated guitarist and  a very active composer.

Kaare Norge’s talent has drawn him into a wide range of achievements, and he has piorneered in a lot of areas. He was the first Danish classical musician to release a CD from a rock -company,Genlyd (BMG), he was the first Danish classical musician to create a video, he was the first classical artist to perform at the world famous “Roskildefestivalen” - in front of  no less than 60.000 entusiastic spectators.

  Furthermore he has set new standards as to how a classical performer promotes him self. In this respect he has given numerous interviews on TV, radio, papers, magazines and the Internet.

Kaare Norge has contributed richly to the international body of guitar literature, above all by his highly appraised transcription - and first recording of - “Partita No. 4 for Harpsicord in D major, BWV 828” by Johann Sebastian Bach - but certainly also his transcriptions of Bach’s Goldberg Variations, Sonata no. 8 in g-minor by Scarlatti, Sonata K. 331 by Mozart and his “Tango Jalousie”, by the Danish composer, Jacob Gade, have also claimed fame.

As a composer Kaare Norges reputation is on the rise. His “Homage to Life”, his first composition to be released on cd, and originally written as a theme to a Danish TV-program - is now being regarded as a modern classic, and is to be found in the repertoire of every hopeful young Danish guitarist.

Kaare Norge has given recitals throughout the world, from Greenland to China, from Bolivia to all over Europe, and his master classes are extremely well-sought. In Denmark he is one of a rather few, whose concerts are almost always sold out. About 3500 times he has been the target of grateful applauders, some of whom have been members of the Danish, royal family. Thus he has played before Queen Margrethe d. 2. at her twenty fifth anniversary – as well as when the then newly wed Crown Prince Frederik and Crown Princess Mary visited Aarhus for the first time.

But, all the above being mentioned, Kaare Norges foremost  importance as an artist lies within his recording. He has released 17 CD’s, and is a performer on several other cds and internationally renowned critics, as Colin Cooper and Alan Miteran, have labelled him a world class record-performer. They have e.g. formulated their admiration as follows:

“Kaare Norge has refined a technique, which allows him to play without the disturbing noises, one so often must endure, when listening to other guitarists moving their fingers on the strings. In other words, Kaare Norges CD’s are of a purity and fastidiousness, one is rarely to experience.”

“Kaare Norges technique enables him to play the prestissimo in a way, that is absolutely breathtaking. It is so fast, you don’t believe it, and yet every note is crystal clear.

  And Kaare Norges feeling enables him to play the rubato, in such a way, that the listener is forced to hold his breath when waiting for the next pitch.”  

Kaare Norge  - en kunstner

af Bjarne Dalsgaard Svendsen

Kaare Norge er en af dansk musiklivs ledende kunstnere igennem de sidste tyve år, og på det  seneste er han blevet en meget aktiv komponist.

Kaare Norges talent har gjort ham til foregangsmand inden for en lang række områder. Han var den første danske klassiske musiker, der udgav en cd på et rock-pladeselskabGenlyd (BMG), han var den første klassiske musiker, der udgav en musikvideo, han var den første klassiske musiker overhovedet, der spillede på den verdensberømte ”Roskildefstivalen” - foran 60.000 begejstrede tilhørere.

  Endvidere har han sat nye standarder for, hvordan en klassisk musiker promoverer sig selv. Således har han givet talrige interviews på tv, radio, internettet og i aviser og magasiner.

Kaare Norge har i formiddabel grad bidraget til den internationale guitarlitteratur, først og fremmest med sin meget værdsatte transkription - og første indspilning af - ”Partita nr. 4 for cembalo i D-dur, BWM 828” af Johann Sebastan Bach, men blandt mange andre har også hans versioner af henholdsvis Bachs Goldberg variationer, Sonate nr. 8 i g-moll af Scarlatti, Mozarts sonate, K. 331, ”Tango Jalousie” af Jacob Gade vundet stor international anerkendelse.

Som komponist er Kaare Norges berømmelse stedse stigende. Hans ”Homage to Life”, den første komposition, han udgav på cd - og som oprindeligt blev skrevet som et jingle til et dansk tv-program - bliver nu betraget som en moderne klassiker, og er som sådan på repertoiret hos mange unge danske guitarister.

Kaare Norge har givet koncerter over hele verden, fra Grønland til Kina og fra Bolivia til - hele Europa, og hans master classes er meget populære. I Danmark er han en af de musikere, hvis koncerter næsten  altid er udsolgt. Omkring 3500 gange har et publikum klappet ham af scenen. Ved to af disse lejligheder spillede han for henholdsvis Hendes Majestæt Dronning Margrethe den Andens femogtyveårsjubilæum, og under middagen, der fulgte efter Kronprins Frederik og Kronprinsesse Marys første besøg i Århus.

 

Men, når det ovenstående er nævnt, så må det understreges, at Kaare Norges største betydning som kunstner består i hans cd-indspilninger. Han har udgivet 17 tyve cd’er, medvirker på et hav af andre indspilninger og internationalt berømte kritikere som Colin Cooper og Alan Miteran har betegnet ham som en verdensklasse-kunstner. Han er eksempelvis blevet omtalt således:

”Kaare Norge has refined a technique, which allows him to play without the disturbing noises, one so often must endure, when listening to other guitarists moving their fingers on the strings. In other words, Kaare Norges CD’s are of a purity and fastidiousness, one is rarely to experience.”

“Kaare Norge’s technique enables him to play the prestissimo in a way, that is absolutely breathtaking. It is so fast, you don’t believe it, and yet every note is crystal clear.

  And Kaare Norge’s feeling enables him to play the rubato in such a way, that the listener is forced to hold his breath when waiting for the next pitch.”  

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