This is a fine Hardanger by the highly respected early 20th century maker Torleiv Frøysaa. It’s a beautiful sounding instrument with 4 sympathetic strings in good playing condition.

Torleiv Frøysaa Hardangers are much appreciated in Norway, and both Johanne Flottorp and Olav Luksengård Mjelva play on instruments by this maker.

The instrument retains its original decorated tailpiece and fingerboard, aslo a full set of pegs. However we have chosen to replace the pegs on the sympathetics with Wittner geared pegs since this makes tuning so much easier and shaves about half an hour of tuning time off the average recital!

There is some restoration to the right of the table, one crack running from the right f-hole down to the bottom edge and several partial cracks or checks to the right of this. These have all been professionaly restored. Apart from this there are no cracks or damages, the edges and corners are very sharp, and the original varnish and decoration are beautifully preserved.

Obviously the Hardanger is designed for traditional Norwegian music, but it’s also a great instrument for baroque performance or for any drone-based styles. Hardangers are also much in favour with crossover Scottish players. They don’t tend to come up for sale very often – when they do, they tend to be very expensive, so an instrument such as this with a bit of restoration offers a rare opportunity to get a real Hardanger sound at an affordable price.

Hardanger tone is a world unto itself, and I can’t profess to be an expert. However, we have sold a few traditional instruments as well as our own hybrid instruments, and I would say this one is of very high quality. It has a strong yet silky sound, great sustain, and a lot of feedback from the sympathetics. It’s ultra-responsive, and detailed ornamentation seems quite effortless. It’s very easy to get lost in the sound, and once I start playing I find it very hard to put down.

Overall this is a great players’ instrument at a keen price, suitable for professionals and amateurs alike.

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