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The Norwegian centre for folk music and folk dances has acted as the executive and administrative body of The Norwegian Council for Folk Music and Folk Dance (TNCFMFD) since June 15, 1992. The centre works to implements the goal of the foundation by monitoring the decisions of the Council and the Board, and through independent work which includes, among others, collecting resources, archive management, research and sharing the resources on the Norwegian traditional music. The centre is located at Dragvoll in Trondheim.
The centre employs academic staff with research and teaching duties and expertise in both folk music and dances. Unfortunately, there is presently no qualified staff employed to perform technical work, including archive-maintaining.
The statutes of the foundation feature two objectives which primarily refer to the scientific work of the centre. TNCFMFD at the centre works to document and research Norwegian folk music and dances and spread knowledge obtained through this work. Moreover, it works to increase knowledge and understanding of Norwegian folk music and dances, to improve practice and experience, and to increase common participation and interest in these areas among Norwegians and other nationalities.
The Norwegian centre for folk music and folk dances is a participant of the Between national identity and the community of cultures: From Chopin and Tellefsen to the 21st century project of the Fryderyk Chopin Institute.
The first Poles came to Norway after the fall of the November Uprising. Some of them settled here permanently, including in Fredrikstadt. In the 1980s, a Polish Association was founded in Fredrikstadt, with the primary goal of integrating the Norwegian Polish community, as well as promotions and preservation of Polish traditions and culture.
The Polish Association in Fredrikstadt is an apolitical organisation that aims to facilitate the cooperation of the Polish community of Friedrikstadt with those in the surrounding municipalities. The Association bases its operations on the work of its members. Among the goals of the organisation is the building of an image of Poles in Norway, as well as integrating Polish and local communities, helping countrymen newly-arrived in Scandinavia, working with the city authorities and institutions with similar goals.
 The organisation operates in the fields of culture, education, integration and sports. As part of the Association, a Saturday School was established in Fredrikstadt, which is attended by bilingual children whose primary language is Norwegian.
The Polish Association in Fredrikstadt is a participant of the Between national identity and the community of cultures: From Chopin and Tellefsen to the 21st century project of the Fryderyk Chopin Institute.


The history of Ringve
Ringve – the music museum, the country estate and the botanical garden. Ringve is Norway’s sole special museum in its field, with national responsibility for music and musical instruments. Since the beginning in 1952, instruments from the four corners of the world have found their way to the exhibition rooms at Ringve, and the museum has distinguished itself as an enthusiastic communicator of music history. But Ringve aims to be a museum of tomorrow as well, and to reflect and comment on new musical currents in a modern, multicultural Norway. We shall preserve and renew, be both guardians of tradition and prophets of the future.
The museum’s existence and operations are rooted in the country estate of Ringve and its characteristic architecture, which forms an exciting and unique framework around the collections.The old estate park was also the point of departure for the foundation of Ringve Botanical Garden NTNU in 1973.
Ringve past and present
In the course of history, Ringve has been royal demesne and church property and has also belonged to a number of famous families in Trondheim and the Trøndelag. It has fulfilled several functions: country estate and model farm, museum and botanical garden. It has been home to great and small, rich merchants and humble servants, both in the Big House on the top of the hill and in the small crofts round about on the property.The people and the melodies of the golden age of the country estate can still be heard on light summer evenings, but now add their voices to the sound of the world’s musical instruments.
Today Ringve Museum is Norway’s national museum of musical instruments with a collection of around 2000 numbers. About 700 of these are so called classical European instruments besides European- and non-European traditional instruments. In addition to this the collection consists of around 25000 sheet music prints, an extensive collection of photographs, a sound archive with pianola rolls, polyphon records, phonograph rolls and various phonograms.

The museum also owns single archives of people and institutions related to national and local musical life. Ringve Estate was the childhood home of Peter Wessel Tordenskiold (1690- 1720) and this is reflected in an exhibition about him and his era on the Estate. The Museum’s keyboard instrument collection includes an unsigned Italian virginal from around the 1600, a spinet from ca 1700, a large selection of clavichords from the 1700s, a harpsichord by Jacob Kirkman from 1767, hammer pianos signed J.A. Stein 1783 and Conrad Graf 1826 and a harp piano by Chr. Dietz from around 1870. Important instruments from the collection of classic wind instruments are the alto recorder by J.B. Gahn around 1700, a clarinet quartet by Bilton, London around 1840. Other key instruments are string instruments like the violin by H&A Amati 1612, viola d’amore by Eberle, Prag 1755, viola da gamba from the workshop of Tielke, Hamburg around 1700 and electronic instruments like a Subharchord II synthesizer from 1968 etc. Traditional Norwegian instruments make of course up a large section of the collection and include for example hardanger fiddles from the 17- and 1800s, Norwegian zithers “langeleik” from various parts of the country and a rich selection of instruments used at the mountain farm, for hunting, important ceremonies etc. All continents of the world are represented with traditional instruments from for example Africa, Latin-America, Oceania and Asia. Amongst these , important collections come from Tibet, India and different countries of Eastern- Europe.
Trondheim Symphony Orchestra is one of the flagships of Norwegian music culture. Thanks to its versatility, dynamism and artistic quality of the highest standards, it is perceived as a strong point of the Norwegian music scene, as well as a source of inspiration for the whole country. The history of the orchestra dates back to the 19th century, when many outstanding artists settled in Trondheim, the centre of sacred music. Keeping pace with the development of European culture, several music associations were established. The formal founding of the orchestra took place in 1909 and the subsequent years of activity strengthened its position. The recent successful concert tours in Germany, Austria, Spain, the Czech Republic, China and Poland confirmed its international reputation.
Since 1989, the Trondheim Symphony Orchestra has been headquartered in the Olavshallen Concert Hall in Trondheim. The current ensemble consists of approximately 85 musicians and gives nearly 100 concerts a year. Each season’s orchestra presents diverse classical music programmes, as well as opera productions. Through many educational and community programmes, the orchestra is involved in supporting the next generations of artists and the future of musical culture. In 2010, Krzysztof Urbański became the First Conductor of the orchestra. Two years later, in recognition of his contribution to the development of the orchestra, he was also given the title of Artistic Director. In March 2016, the orchestra appointed Han-Na Chang as the new conductor for the 2017–2018 season. This will be their first ever female conductor.
In 2014, under the baton of Krzysztof Urbański, the Trondheim Symphony Orchestra performed in Warsaw during the 10th International Music Festival Chopin and His Europe, From Chopin and Grieg to Panufnik. In the programme of three concerts were Chopin’s Piano Concerto No. 2 in F minor, Op. 21, Thomas Tellefsen’s Piano Concerto No.2 in F minor, Op. 15, Karol Szymanowski’s Symphonie No. 4 (Symphonie concertante), Op. 60, Wojciech Kilar’s symphonic poem Krzesany, Edward Grieg’s Piano Concerto in A minor, Op. 16 and Peer Gynt Suite No. 1, Op. 46, Witold Lutosławski’s Concerto for Orchestra, as well as Johannes Brahms’ Violin Concerto in D Major, Op. 77 and the same concerto in a piano version.