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I was fortunate enough to grow up surrounded by plenty of pianos and grand pianos. I loved playing, but I was still constantly reprimanded. “She plays wildly,” my classical piano teacher said indignantly, as I wouldn´t stop improvising on the classical pieces she was attempting to teach me. Looking back, I understand why it wasn´t always appreciated when I just/made a slight “touch up” on Bach´s inventions.

Kristin Skaare, barnebilde, piano

Growing up, it was all about music. At other kids´ birthday parties, I would play the piano, interpreting the mood or the “energy of the birthday child”. When I was about 9 or 10 years old I was playing on stage; my bandmates were two feet taller than I and in middle school, and they included me knowing I knew how to improvise. In my teenage years, I worked as a substitute caretaker in the church at Jar; I had my own key and I would lock myself into the wonderful Steinway grand piano on my way home from school.

During my high school years, I would go straight to town after class, spend the afternoon listening to records at the main library, and often end up at a concert at “Club 7”. To me, “Club 7” was New York; I felt the rush of a large and generous world that accompanied the musicians who played there. 

At the same time, it was like coming home, and I´d walk confidently over to the sound technician and ask to leave my bag under the mixing console. I was allowed to. Later on, I had gigs at “Smuget” two or three times a week, although I wasn´t strictly allowed in, being under-aged. 

Kristin Skaare, konsert

Serendipity had it that I, as a novice musician, who was hired to join in only on one song at a studio recording, ended up recording the entire album with a group of legendary superstars – who all turned out to be wonderful people. We´d have long talks around existentialist themes, while I was learning to play the accordion and jotting down chords on the back of napkins just before recording. All of a sudden I was a studio musician. I have since worked with half the music scene in Norway, according to the newspaper “Dagbladet”.

I was given good opportunities early on in life, and writing this, I realize I´ve been living off music exclusively for 35 years. I am amazed at how rich my life has been, and how diverse the projects I have been a part of.

There´s been variation stretched out over genres, and long workdays; from traditional Chinese music in the morning, then throwing myself on a plane from Bergen, and making it in time for the soundcheck with “Young Neils” at “Rockefeller” in Oslo the same night. And there have been many late nights. I´ve been able to work with magical colleagues, our finest artists, and still have the feeling that this is where it starts, this is where it happens! 

Indigenous folk has their own inherent sense and insight regarding three phases of creation – the beginning, the middle, and the end – nature´s inner cycle of life, death, and new life. I feel incredibly privileged, as a modern human, to be able to live this way, with this cycle, directly through creative work. To me, it´s never been about milking commerce, but about experiencing the musical life, fresh and vibrant, like polished brass that sparkles.


Philosopher Hannah Arendt writes: “Every human represents a brand new and unique beginning. Every time we act, we can introduce something new and unexpected into the world. Every time we can initiate new beginnings.” (Vita Activa, 1958)


This website presents a selection of new projects, earlier works, and key partners. At this moment, I´m excited about launching a new album, newly commissioned works, concerts, and KILDE - music meditation starting this fall.

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