Ottar Kåsa

When the fiddle strikes a chord

• Ottar carries the traditional hardanger fiddle making craft forward
• As an accomplished fiddler, he has won several national competitions
• He is a master artisan in Homo Faber Fellowship 2025-26

Luthier and musician Ottar Kåsa creates and repairs finely ornamented hardanger fiddles in his workshop in Bø in Telemark, a place known for its long traditions of fiddle making and folk music. The hardanger fiddle was first developed in the 17th century in the Hardanger region. Though similar to a violin, it has understrings, distinctive f-holes and is richly decorated with wood carvings, mother-of-pearl inlay and rosing. Music and instrument go hand-in-hand for Ottar. “I use my eyes and ears while working, combining the visual with sound, knocking gently on the wood to remove high tones," he says. Repairing instruments and setting them up is also a big part of his work. It comes down to Ottar's choice of materials and small adjustments to bridge and soundpost to create the best sound possible.

Interview

©Anders Erik Røine

©Øystein Akselberg

How did you become interested in fiddle making?

I played the guitar when I was young and was encouraged to try the hardanger fiddle. It really struck a cord with me. I also liked working with my hands, especially with wood. So, in hindsight it makes sense, but the idea of becoming a fiddle maker did not occur to me until I was an adult.

What does the fiddle creation process look like?

I start with the shape of the inner body, then make the neck and fingerboard with carvings and details in bone and mother-of-pearl. I let the instrument darken in the sun before continuing with rosing, then finally apply 15 to 20 coats of lacquer. I never clock the hours, but imagine I spend around 200 or 300 hours on a making new instrument.

What techniques and materials do you use for decoration?

I do the rosing with a pen and a dip pen, often as free improvisations around the same basic forms. On modern hardanger fiddles, the fingerboard and tailpiece are decorated with intarsia where mother-of-pearl is felled into ebony. In the 19th century, they often used buckhorn, which I hope to explore more with my fellow Jake Fineberg.

How does the craft of fiddle making stand today?

Though the tradition is fairly small, it has seen a positive increase over the last years, both in Norway and internationally. I have also had some classical musicians show interest in the hardanger fiddle and have made a hardanger cello and viola, for instance.

Ottar Kåsa is a master artisan: he began his career in 2008 and he started teaching in 2017

Works

©Ottar Kåsa

©Ottar Kåsa

©Runhild Heggem

Where