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    CultureMap Video

    Don't be afraid: A mysterious devil fiddle is headed to Houston, but it means no harm

    Joel Luks
    Jan 12, 2014 | 6:02 am
    Don't be afraid: A mysterious devil fiddle is headed to Houston, but it means no harm
    play icon

    Mother of pearl inlays, delicate filigree inkings, bone adornments and fanciful spirals gracing the scrolls — not your typical trimmings for a folk instrument of any kind. One would think that musical instruments wouldn't be dressed to the nine, particularly those that were associated with the evils of the underworld, an instrument that was blasphemously infamous for rousing raucous dance parties, gratuitous drinking and violence.

    No need to be afraid, folks. It's just a violin of sorts with quite a history, its mystique being the focus of the Apollo Chamber Players concert "Scandinavian Spirit," set for 6 p.m. Sunday at Christ the King Lutheran Church.

    The Hardanger fiddle is thought of as the national instrument of Norway. Named for the western part of the Scandinavian Peninsula where the North and Norwegian seas meet, an area that was conquered by the Vikings, the instrument is indigenous to an environment of magnificent natural beauty — the home of the Hardangerfjord, the third largest fjord in the world.

    When violinist Matthew Detrick opens the fiddle's carrying case, you can't help but gasp at the workmanship. This particular fiddle, on loan from a Houston collector, was in the hands of Hardanger virtuoso Laurel Lawshae, an Austin resident who regularly performs with the San Antonio Symphony, the Midland-Odessa Symphony and the Austin Symphony.

    Detrick and fellow Apollo violinist Anabel Ramirez traveled to Austin to procure the instrument and to take lessons from Lawshae to learn how to get the most out of this little devil, which fittingly was christened Annveig, a Norse female name (veig means strength), by its maker when it was built in 1988.

    In addition to the striking visual differences between the Hardanger fiddle and the modern violin, two other properties distinguish the resultant exotic timbre that's bright with harmonic overtones.

    The Hardanger fiddle won't compel you to break out into a rowdy brawl or partake in sacrilegious leisure activities.

    "It has nine strings instead of the four typically found on a violin," Detrick says. "Five of those strings are placed underneath the bridge and extend through the fingerboard all the way to the scroll. But you don't play them or make them sound with your bow."

    These five strings as sympathetic, which means they ring in relation to the sound waves being produced by the other four strings. The resonance adds to constitute a tonal color that's suffused with enchantment, alongside a drone that offers an intoxicating bass.

    "The bridge (a piece of wood that supports the strings that's usually curved so each string can be bowed separately) is flat," he continues. "It forces you to play double stops or two strings at the same time at all times."

    The purpose of these design features is to give license for the Hardanger fiddle to function as more than one instrument. That's important given how it was originally played: Solo. The Hardanger fiddler would sit in a chair and play along while stomping his foot to mark time. Dancers would surround the musician and do the springar, a couple's dance in an asymmetrical triple meter, and the gangar, a walking dance.

    As with all Apollo Chamber Players concert, the group will perform their own arrangements. Scored for string trio and Hardanger fiddle, Anund's Reinlender will couple the soul of the fjords with an orchestral violin, viola and cello. With the inclusion of music by Scandinavian composers, including Grieg's String Quartet in G Minor and Sibelius' String Quartet "Voces Intimae," Apollo Chamber Players hopes the program shows the connection between music of the people and classical repertoire by well-known composers.

    In listening to the lilting affect of the Norwegian tune, you can't help sway side to side and tap along the rolling melody. It's safe and mother approved, though. It won't compel you to break out into a rowdy brawl or partake in sacrilegious leisure activities.

    It may, however, encourage you to grab a beer with Detrick and his colleagues as it takes a certain easy-going nature to execute this delightful strain.

    Watch the CultureMap video (above) to hear the Hardanger fiddle and listen to Detrick and violist Whitney Bullock explain how the program ties together.

    ___

    Apollo Chamber Players presents "Scandinavian Spirit" on Sunday, 6 p.m., at Christ the King Lutheran Church. Tickets may be purchased online and are $25 for adults, $20 for seniors and $10 for students.

    The Hardanger fiddle is considered the national instrument of Norway.

    Hardanger fiddle Apollo Chamber Players
    Photo by Joel Luks
    The Hardanger fiddle is considered the national instrument of Norway.
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    Houston museum sounds off after vandals deface artist's painting

    Jef Rouner
    Jun 9, 2026 | 4:00 pm
    Clarence Heyward painting with damage at HMAAC
    Photo courtesy of HMAAC
    Clarence Heyward's Man in the Garden was intentionally damaged

    The Houston Museum of African American Culture (HMAAC) announced on Monday, June 8, that a museum visitor intentionally damaged one of its paintings on May 21. The damage included a puncture and large cut or scrape in a painting by North Carolina artist Clarence Heyward called Man in the Garden, part of the EDEN exhibition in the downstairs gallery.

    HMAAC CEO Emeritus and exhibition curator John Guess Jr. held a press conference at the museum on Tuesday, June 9, and said the vandalism was representative of continued bigoted attitudes in Houston.

    "If we're honest about it, this is a very racist town," he said. "We're the fourth-most economically segregated city in the country. Houston has the highest poverty rate of any of the 25 metropolitan cities. And no one talks about that.This town itself has some serious issues. We're demographically diverse, but we remain segregated."

    According to Guess, two young white men entered the museum carrying a large bag. They visited an exhibition of Kandy G. Lopez's work upstairs, where they asked a staff member to take a picture of them in front of a painting. When the staff member obliged, the two men made an obscene gesture at the work.

    Later, they briefly went downstair to the Heyward exhibit before quickly leaving. Afterwards, staff discovered the defacement. Unfortunately, the museum's cameras had malfunctioned the day before the attack, and a work order to repair them was placed hours before the suspects arrived.

    HMAAC says they have filed a report with HPD, but have not yet heard of any movement in the case. This incident is the first time that HMAAC has had a work defaced, though there have been previous incidences of threats against the museum in its logbook. A man also showed up at the museum in the past with a Bible claiming that God had told him to take vengeance on the museum, though he was removed before he caused any damage.

    After initially taking the painting down to start reconstruction, the museum said they returned it on the wall to illustrate the damage. Guess compared leaving the marred painting up to the mother of Emmett Till's mother insisting on an open casket funeral after her son was abducted and lynched. The exhibition ended Saturday.

    Heyward's painting highlights one of his signature techniques of portraying Black people, specifically his family members, with green skin. In his artist statement, the Brooklyn-born Heyward describes the techniques as linking skin tone to the cinematic process of green screening, where green backgrounds are used to project computer-generated new realities. "This provides an alternative entry into the conversation of existing while Black in America," he said in the statement.

    HMAAC vowed to continue displaying works by Black artists despite the vandalism.

    "Our immediate priority is supporting the artist and ensuring the proper restoration of the work,'" said CEO Davinia Reed in a statement. "At the same time, we remain committed to presenting exhibitions that encourage learning, reflection, and dialogue. Acts intended to intimidate, censor, or damage cultural expression will not deter us from our mission."


    Clarence Heyward painting with damage at HMAAC

    Photo courtesy of HMAAC

    Clarence Heyward's Man in the Garden was intentionally damaged

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