Grieg Now! IGS International Conference and Workshop 2019

The International Edvard Grieg Society (IGS), Grieg Academy/Centre for Grieg Research University of Bergen and Edvard Grieg Museum Troldhaugen invite scholars and performers to the event Grieg Now! International Conference and Workshop in Bergen, Norway, 24–27 October 2019.

With Edvard Grieg as a starting point, the international conference and workshop “Grieg Now!” aims to bring performers and researchers together and provide an opportunity for sharing knowledge, experiences and reflections on his music and influences on music and culture in our times.  The event will include the following areas: Musicology (key note speakers, paper presentations), Artistic Research (lecture demonstrations) and Performance (workshops, Master classes and concerts) and will combine academic lectures, practical demonstrations, master classes, individual teaching sessions, discussion forums, and performances.

Invited guests will include: 
Oslo String Quartet (confirmed)
Other key note speakers to be announced on the conference website.

Participating staff from the Grieg Academy and Centre for Grieg Research:
Ricardo Odriozola (violin), Signe Bakke (piano), Torleif Torgersen (piano), Einar Røttingen (piano), John Ehde (cello), Hilde H. Sveen (voice), Njål Sparbo (voice) and Arnulf Mattes (musicology). 

Research seminar
Scholars on all areas of music research are invited to contribute with individual papers or co-presentations on the following topics, exploring the variety of present understandings of Grieg’s musical and cultural significance:

  1. Grieg in current artistic practice, new ways of performing and interpreting Grieg’s works, artistic research projects, re-composition.
  2. Grieg in contemporary concert life, performative aspects of Grieg’s music, new forms of staging and narrating Grieg, music education projects.
  3. Grieg in popular culture, adaptations of Grieg’s music in popular music and film music, social media, streaming.
  4. Grieg in current music theory, analytical reassessments of his works, compositional intertextuality, history of effect.
  5. Grieg and historical performance studies, analysis of historical recordings.
  6. Grieg and cultural heritage in the present and future.

Performance workshop
The performance workshops will be open to a limited number of active participants. Individuals or groups may apply within these instrumental categories: solo piano, violin & piano, cello & piano, piano trio, string quartet, voice & piano. The workshops will cover the following repertoire:

Repertoire: Any chamber work or movement by Edvard Grieg (violin/cello sonatas, trio, string quartet). In addition, all string players must play at least one piece or movement of a work by a 20thCentury or contemporary Norwegian composer. To receive a list of suggested repertoire, contact If you are a pianist who wants to play with a partner (singer or string player(s) in the workshop, ask for this in your application and we will try to fulfill your request. 

Repertoire: Any of Edvard Grieg’s songs (available in all transpositions). In addition, all singers must include at least one song by a 20thCentury or contemporary Norwegian composer. To receive a list of suggested repertoire, contact you are a singer who wants to collaborate with a pianist or other instrumentalists in the workshop, ask for this in your application and we will try to fulfill your request.

Repertoire: Any chamber work or movement by Edvard Grieg (violin/cello sonatas, trio, string quartet). In addition, all string players must play at least one piece or movement of a work by a 20thCentury or contemporary Norwegian composer. To receive a list of suggested repertoire, contact If you are a string player who wants to play with a partner (duo w/pianist) or be part of an ensemble (trio, quartet) in the workshop, ask for this in your application and we will try to fulfill your request.

The final concerts will include the active participants and will take place at the Edvard Grieg Museum’s concert venues Troldsalen Chamber Music Hall and Grieg’s villa at Troldhaugen.  

Application procedures:

  1. Active applicant in workshop: Please send name, instrument, country, e-mail address and background information (studies, professional activity), and repertoire you wish to study. Additionally, include an electronic submission of a digital recording (min. 5 minutes) of a music piece of your choice (MP3, YouTube, etc.). Applications should be sent to einar.rottingen@uib.noand will be processed and answered as they come in until 1 June 2019. After this date, you may still apply and be accepted if there is space.   
  2. Submission of individual papers or co-presentations at the music research seminar: Please send your abstract by 1 June 2019 to Proposals will be assessed by 1 June 2019. 
  3. Observing participants: Please send name, country, e-mail address, and background information (studies, professional activities) to

All applicants must pay for their own travel and accommodation. A financial contribution to students in need of support will be considered if the funding for the conference allows it. More information about this will be sent to the applicants when the financial status is clear. Seminar/workshop and teaching sessions are free for all participants. Most meals (lunch/supper) will be covered. All inquiries should be sent to:

Conference website:

The Nordic Ingredient – European Nationalisms in Norwegian Music after 1905 – Joint Conference

20–21 March 2018, Grieg Research Centre (UiB), Bergen

The Grieg Research Centre and the University of Münster would like to invite musicologists and historians to a joint conference at the Grieg Research Centre in Bergen, 20-21 March 2018. The conference will be co-organised by the Grieg Research Centre, the DFG-research project The German Dominance of Music in Norway 1930–45 at University of Münster, and the Goethe Institut Norwegen.

Confirmed speakers (i.a.): Prof. Friedrich Geiger (Musicologist, Hamburg), Prof. Erling Gulbrandsen (Musicologist, Oslo), Ass. Prof. Ingrid Loe Dalaker (Musicologist, Oslo), Prof. Rolf Hobson (Historian, Oslo), Prof. Christhard Hoffmann (Historian, Bergen), Prof. Tom Kristiansen (Historian, Tromsø), Prof. Dr. Arvid Vollsnes (Oslo)

The conference attempts an interdisciplinary exploration of the impact of nationalism on music, and vice versa, music’s importance for national tendencies along the following aspects:

  1. Reconstructing the reasons, conditions, and consequences of different historical phases in Norway’s nation state building during the 19th and 20th century, in relation to the influence of European nationalistic ideologies on the domestic cultural and political sphere (aesthetic vs. political independence).
  2. The cultural export of Norwegian national topics and icons, and their significance for European musical trends (Black Metal, Neo-Nazi aesthetics etc.).
  3. The function and design of national elements in lyrics and melodies (including avant-garde, folk, jazz, rock and pop music).

Music mirrors the cultural and political characteristics of the nationalisms that clashed in WW I for the first time on a global scale and triggered new conflicts with every next generation until nowadays: On the one hand, due to music’s alleged unpolitical nature, its emotional qualities have historically been proved ideal for cultural nation state building. On the other hand, music could be (mis-)used as a propagandistic means by both totalitarian regimes and resistance movements. In general, these interactions between music and politics are not limited to certain genres, but instead can be found in all musical stylistics with different aesthetic characteristics.

The development of nationalist sentiments in Norwegian culture and their relationship to various ideas of the ‘Nordic’ neither have been considered so far, nor their consequences for Norwegian musical life. Therefore the term with its unbroken semantic attraction is a key to understand the dialectics of music and politics: In Norway, with its long tradition of German-Norwegian cultural exchange, the ‘Nordic’ underwent several transitions from an aesthetic quality into an ideological category in early 20th century, with long-term consequences for Norway’s place in Europe’s music life. But far from being questioned, the fascination for the ‘Nordic’ is unbroken, diverse and conflicting (ranging from touristic marketing, artistic branding and politi- cal institutions of Scandinavian nations up to nationalist sub-cultures).

Call for abstracts: Please email an abstract of no more than 300 words and a short biography (100 words maximum) to Young scholars are specially invited to apply for a limited amount of research grants. The grants include full coverage of travel costs and accommodation in Bergen and the possibility to publish in the conference proceedings. The deadline for submissions of papers is 15 November 2017, and we aim to inform you about the result of the peer reviewed selection process by mid-December 2018. For further information please visit

Publication: After the conference, the organisers are planning for a publication of edited papers in a special issue of Studia Musicologica Norvegica – Norwegian Journal of Musicology.

Further information: Full programme and information about the conference will be available on the website of the Grieg Research Center:

Venue: The conference will take place at the University of Bergen.
For further questions on accomodation, please contact:

On behalf of the organising committee,

Ass. Prof. Arnulf Mattes (Grieg Research Center, UiB) and Prof. Michael Custodis (Universität Münster)