natgillin/translations-raw huggingface dataset:
But the cellist kept a firm grip on his bow. 
Men cellisten holdt fast i buen.
Music with meaning, a soundboard that was able to withstand and still withstands great intensity of feeling. 
Musikk med mening, musikk med solid klangbunn, med en resonanskasse som tålte og tåler mye.
Grieg did not stand on the barricades side by side with tanks in Red Square, or by the Berlin Wall. 
Grieg sto ikke på barrikadene ved stridsvogner, Røde Plass eller ved en Kald Krigs mur.
Grieg was a frail man with poor health. 
Grieg var spinkel og helsen var sjelden god.
But he had a sharp pen, black and white keys, a baton, rhythm, a big heart, a clear voice and a tonality and musicality that lifted people up, and continues to do so. 
Men han hadde en skarp penn, hvite og sorte tangenter, en taktstokk, mange taktslag, et stort hjerte, en tydelig stemme, og en tone og melodi som bar og som altså fortsatt bærer.
Besides he stood on his own personal barricades. 
Men han sto også på sine barrikader.
He was, as we have just heard, one of the strongest Norwegian supporters of Alfred Dreyfus – the wrongfully convicted Jewish officer, who wrote the famous article entitled “J’accuse” in the Paris newspaper L’Aurore in March 1898, together with Emile Zola and others. 
Grieg var – som vi nettopp har hørt – en av de nordmenn som engasjerte seg sterkest til forsvar av Alfred Dreyfus – den uskyldig dømte jødiske offiseren – sammen med blant annet Emile Zola som i mars 1898 skrev sitt berømte ”J’accuse” i Paris-avisen L’Aurore.
This is a well-known chapter in Grieg’s life. 
Dette er et kjent kapittel fra Griegs liv.
A large police escort accompanied Edvard and Nina Grieg to their hotel afterwards, and formed a cordon to protect them, as Grieg later noted. 
En stor politieskorte fulgte Edvard og Nina Grieg til hotellet etterpå, og beskyttet dem som ”en kordon”, som Grieg senere skriver.
And now to draw some lines to our own day: a Grieg/Dreyfus seminar and concert will be held in Paris on 22 October this year. 
Og for å trekke de lange linjer; den 22. oktober i år arrangeres det et seminar og konsert i Paris med utgangspunkt i – ja, som et påskudd – Dreyfus-saken og Griegs engasjement.
I have been inspired by the Grieg events this year to draw some lines (as I did during the Ibsen Year in 2006), to identify some links between music and foreign policy, between music and international ties, and I have thought a bit about how these can have an effect on the work we do in the Foreign Ministry and the foreign service. 
Jeg har av Grieg-markeringene i år – ja, og av Ibsen-året i fjor – latt meg inspirere til å se noen linjer – noen kjennetegn – mellom musikk og utenrikspolitikk, mellom musikk og internasjonale forbindelser, og litt hvordan dette preger blant annet Utenriksdepartementets og utenrikstjenestens arbeid.
I have identified four main lines. 
Jeg tenker på fire hovedlinjer.
The first, as a kind of prelude, is this. 
Den første – som et preludium – er denne:
Music is a universal language, a common language. 
Musikk er et universelt språk, et felles språk.
All cultures can meet and communicate through music. 
Gjennom musikk kan alle kulturer møtes og kommunisere.
Music is spoken fluently across language barriers. 
På tvers av språkkretsene snakkes musikk flytende.
People listen to one another, play, experience, learn, understand. 
Man lytter til hverandre, spiller, opplever, lærer, forstår.
Together. 
Sammen.
The melody in “Morning Mood” from Grieg’s Peer Gynt Suite No. 1 can be heard in folk music all over the world, particularly in the East, and can be played not only on a traditional Norwegian Harding fiddle or the black keys of a piano, but on many different kinds of instrument. 
Melodien i ”Morgenstemning” fra Griegs ”Peer Gynt” finnes i folkemusikk over hele verden, ikke minst i Østen, og kan spilles – ikke bare ved å bruke understrengene på vår hardingfele, eller de svarte tangentene på et piano – men på mange slags instrumenter.
“Morning Mood” comes to Peer Gynt, it seeps into his inner being, as he is lying virtually unconscious on a beach in Morocco, or – as in the magnificent production in Egypt last autumn – by the Sphinx in Giza. 
”Morgenstemning” dukker opp i Peer Gynts minne – i hans indre – der han ligger nesten bevisstløs på stranda i Marokko – eller ved Sfinksen i Giza under den store forestillingen i Egypt i fjor høst.
Peer Gynt with his ear against the sand. 
Peer Gynt med øret til sanden.
Almost with his head in the sand perhaps? 
Nesten med hodet i sanden?
In any case it wakes him up and makes him think. 
Peer får i alle fall noe å tenke på.
And it is precisely this that Grieg gets across – the sense that “Morning Mood”, a melody everyone recognises all over the world, is our very own. 
Og nettopp dette får Grieg frem, ”Morgenstemning”, melodien alle kjenner igjen, over hele verden, som sin egen.
This ready recognition, or identification, is highlighted in Erling Dahl Jr’s new biography. 
Dette gjenkjennelige – identifiseringen – kommer også godt frem i Grieg-kjenneren Erling Dahl jr.’s nye bok om ham.
My first reflection, in other words, is on how the universal language of music provides people with a framework of shared experience and points of reference, and that this is something that is badly needed. 
Min første refleksjon handler med andre ord om at i vår verden bidrar musikkens universelle språk til menneskehetens felles erfaringsgrunnlag og referanseramme – og at nettopp dette bidraget trengs.
The second of my four points is that music, like other art forms grows out of creativity, curiosity, the search for insight, depth and reflection. 
Mitt andre punkt av disse fire er dette: Som andre kunstformer forutsetter musikk kreativitet, nysgjerrighet, en søken etter noe - ja etter innsikt, fordypelse og refleksjon.
Reflection – as opposed to the automatic reflexes that the world is so full of – is something that helps humanity, helps the whole world, to move forwards. 
Refleksjon – og ikke bare automatiske reflekser, som verden er så full av – er kvaliteter som bringer oss mennesker og verden fremover.
A creative process. 
En skapende prosess.
Thus my second reflection is as follows. 
Derfor – min andre refleksjon – er følgende:
Something that musicians and other artists have to teach us is the importance of creativity and interaction, and the connection between them. 
Jeg har tenk på dette at noe av det musikere og andre kunstnere kan lære alle oss andre er både kreativitet og samspill – og sammenhengen mellom de to.
And one of the most important things music gives us – both at home and abroad – is a shared experience, a meeting with a common cultural heritage, a meeting with ourselves. 
Og noe av det viktigste musikken gir oss, hjemme og i utlandet, er felles opplevelser, et møte med vår felles kulturarv, et møte med oss selv.
Virtually every town and village in Norway with any self-respect, and with an active proponent of culture on the local council, sets up some kind of festival or musical happening where precisely this type of interaction and shared experience is an important element. 
I en situasjon hvor hver by og grend i Norge med respekt for seg selv, og med en aktiv kulturkonsulent på plass i kommunehuset, er det etablert en festival, en musikkfest - hvor nettopp denne type samhandling og fellesopplevelser har mye for seg.
The ripple effects are many and they are positive. 
Bivirkningene er mange og gode.
This is value creation along several axes. 
Verdiskapning langs mange skalaer.
Moreover, artists and other cultural actors are often outspoken, yet their exchange of experience takes place within a framework of mutual respect and an ability to listen. 
Dessuten: Erfaringsutveksling mellom kunstnere og kulturarbeidere er ofte preget av frimodighet, en ramme av gjensidig respekt, av evnen til å lytte.
I believe this is a good model. 
Og dermed så mener jeg at dette er en god modell.
And there are many examples of the cultural arena being important for establishing and maintaining contact in situations otherwise characterised by deadlock and conflict. 
Det er mange eksempler på at den kulturelle arena har stor betydning i å etablere eller opprettholde kontakt der fastlåste holdninger ellers skaper konflikt.
Culture can thus help to create peace; music can raise the agenda an octave to the issues that are important for all parties, to the principles that can be agreed, to the key note. 
Kultur kan dermed være fredskapende, og kultur kan løfte dagsorden opp en oktav, til spørsmål av felles betydning, som man kan enes om, en grunntone.
Culture is an arena in which important and sometimes sensitive subjects such as censorship, indoctrination, freedom of expression, freedom of belief and gender equality can be raised even in cases where the language of politics is not getting through. 
Ved hjelp av kultur kan også viktige – og kanskje også sensitive – emner, som sensur, ensretting, ytringsfrihet, trosfrihet og likestilling tas opp – i sammenhenger der det politiske språket ikke når frem.
Cultural contact is particularly important with countries and societies that we do not know enough about, that we do not properly understand. 
Kulturkontakt er spesielt viktig overfor land og samfunn vi ikke kan nok om, som vi ikke forstår helt.
Exploring the cultural landscape can be a way of doing the footwork. 
Kulturkunnskap kan gjøre fotarbeidet.
And Edvard Grieg himself once wrote that: “It is of course primarily science and art that are the ideal way to present one people to another.” 
Og Edvard Grieg har selv skrevet at ”selvfølgelig er det først og fremst Videnskab og Kunst som idealt repræsenterer det ene Folk ligeovenfor det andet”.
Science and art. 
Vitenskap og kunst.
So to my third reflection which is on the sense of belonging. 
Så til tredje refleksjon, som handler om tilhørighet.
The global concert hall – whether in one of the world’s great cities or on the worldwide web – reflects the trends of today, cultural expressions and cultural impressions. 
Den globale konsertsal – enten det er i verdensbyene eller på verdensveven, www.dott – reflekterer alle strømninger i dag, alle kulturuttrykk og kulturinntrykk.
Technology has given us unlimited access to information on other countries’ cultures, art, musicians and music. 
Den teknologiske utviklingen har åpnet for ubegrenset tilgang på informasjon om andre lands kulturer, kunstverk, musikkformer, musikere, komposisjoner.
We have teenagers who download whatever they want to listen to at any time; they can remix the music themselves, they can even fill up their father’s iPod! 
Vi har tenåringer som laster ned det de ønsker å høre, hele tiden, ja gjerne remixer like godt selv, eller fyller opp på sin fars ipod!
This information revolution is a highly visible and audible aspect of globalisation. 
Denne informasjonsrevolusjonen er en svært synlig og hørbar del av globaliseringen.
But whether it is equally able to foster the ability to listen is another question. 
Men om den er like lydhør, er et annet spørsmål.
Against the backdrop of this soundscape, every single Norwegian artist is important for Norway as a nation. 
I dette lydbildet er den enkelte norske kunstner viktig for Norge som nasjon.
They are all expressing the age they live in, their environment, their experiences, their upbringing. 
Hun formidler sin samtid, sitt miljø, sine erfaringer, sin oppvekst.
And so did Grieg, from his first difficult days at the Leipzig Conservatory as a 15-year-old, and on throughout his life, in Copenhagen, Paris, Brussels, Berlin, Bergen. 
Dette gjorde også Grieg, fra de første harde dagene ved konservatoriet i Leipzig som femtenåring, og videre gjennom hele livet, København, Paris, Brussel, Berlin, Bergen.
And this was needed. 
For det kunne trenges.
In 1898, for example, Grieg took the initiative for what was the forerunner to the Bergen International Festival, which started properly more than 50 years later, by inviting a large, professional European orchestra to Bergen to show how music could be played. 
I 1898 tok Grieg for eksempel initiativet til det som ble forløperen til Festspillene i Bergen, som egentlig startet over 50 år etter, ved å invitere et stort og profesjonelt europeisk orkester til Bergen, for å vise hvordan det kunne spilles.
We had plenty to learn from abroad; that was very clear. 
Vi hadde noe å lære utenfra, det ble tydelig.
Norway’s cultural heritage, our own cultural identity, is our contribution to global diversity, to the global web. 
Norsk kulturarv, vår egen kulturelle identitet er våre bidrag til det globale mangfold, den globale veven.
Our cultural heritage is part of our self-image, and it is also part of other people’s impression of us, of our reputation. 
Kulturarven er også grunnlaget for vårt eget selvbilde – og med på å forme andre folks oppfatning av oss – vårt omdømme.
But just as importantly, cultural heritage and contemporary culture constitute a significant foreign policy asset, as I observe every day. 
Men like fullt: Kulturarv og kultur er en betydelig utenrikspolitisk kapital – det merker jeg hver dag.
Our foreign trade is not based solely on oil, gas, fish and knitted sweaters. 
I utenriksfart har vi ikke bare med oss olje, gass, fisk og strikkegensere.
We also export our creativity, our art and our music. 
Vi tar med kreativiteten, kunsten, musikken.
Culture is also an important asset in our foreign policy, in our contacts and cooperation. 
Det gjelder også i utenrikspolitisk arbeid, i våre kontakter, i vår samhandling.
And we want more of it. 
Vi ønsker mer av det.
But there is no doubt that Peer Gynt was a citizen of the world, and both the play and the music are known the world over. 
– ) men verdensborger var han jo, og både diktverket og musikkstykket er verdenskjent.
This is cooperation in the key of culture. 
Det er samhandling – med kulturen som grunntone.
And they can uphold universal common ideals, such as those set out in the UN Universal Declaration of Human rights. 
Som nå under Amnesty Internationals kampanje lansert for to dager siden – ”Make Some Noise” – musikk og kamp for menneskerettighetene.
Music being used in the fight for human rights. 
En femtimanns gitarparade – gitarkameratene ganger 10 – marsjerte opp Karl Johan.
It was a real breath of fresh air! 
Det er forfriskende og bra!
We need engaged Norwegian voices. 
Vi trenger engasjerte norske stemmer.
People who are seen and heard among the greater Norwegian “we”, among a broader, more diverse Norwegian population. 
Som synes, som høres, i ”det større norske vi”, i en mer sammensatt norsk befolkning.
In foreign policy you have to stand up for values, you have to be a visible participant with the will to engage in discussions and dialogue, to make compromises, to find solutions. 
I utenrikspolitikken må man stå for verdier, være en synlig deltaker med vilje til samtale og dialog, til kompromisser, til å se løsningene.
Musicians are in fact living examples of freedom of expression through the music they create. 
Og musikere bruker jo faktisk også ytringsfriheten gjennom det de skaper.
All the major challenges today are international in nature: climate change, energy demand, poverty, human trafficking, corruption, and we will only be able to address these challenges and help to find solutions if civil society – with all its ideas, expertise and networks – is involved. 
Alle store utfordringer i dag er internasjonale i sin natur – ta klima, energi, fattigdom, menneskehandel, korrupsjon – og for å møte disse utfordringene, ta del i løsningene, må det sivile samfunn trekkes med, med kompetanse, ideer, nettverk.
Artists and other cultural actors excel here. 
Dette er noe kunstnere og kulturarbeidere kan.
Just like Grieg. 
Som Grieg.
His ideals and visions gave him a voice out in the world; he spoke through his music, through his letters, and – something we are going to have far too little of in the future – through his conversations. 
Hans idealer og visjoner ga ham en stemme, ute i verden, gjennom noter, gjennom brev – ja, som vi selv vil komme til å ha alt for få av fremover – og gjennom samtaler.
It is 164 years since Edvard Hagerup Grieg was born in Strandgaten in Bergen, and it is 100 years since he died. 
Det er altså 164 år siden Edvard Hagerup Grieg ble født i Strandgaten i Bergen, og det er 100 år siden han døde.
Last year was Ibsen Year, which was commemorated all over the world and not least in this building. 
I fjor markerte vi Ibsen-året – ikke minst her i dette hus.
The next centenary, in 2008, will be Henrik Wergeland’s, and he will be followed by Knut Hamsun in 2009, and then by Bjørnstjerne Bjørnson in 2010. 
Neste mann ut, i 2008, er Henrik Wergeland, så Knut Hamsun i 2009, og 2010 står i Bjørnstjerne Bjørnsons tegn.
We are celebrating one outstanding artist after another. 
Vi er inne i gullrekka, førstefemmeren.
As composer, Edvard Grieg changed the soundscape of Norwegian nature. 
Som komponist omskapte Edvard Grieg lydkulissene i norsk natur.
He brought a primeval Norwegian sound – but one with an everyday, popular, readily recognisable tone – into the world’s great concert halls. 
Han brakte noe urnorsk – men også noe folkelig, hverdagslig, ja gjenkjennelig – inn i verdens konsertlokaler.
Grieg put his ear to the ground, wrote down what he heard, added new notes and continued the process of composition. 
Grieg la øret til bakken, skrev ned, satte toner til, komponerte videre.
He said to a foreign journalist just before he died: “I make no pretensions of being in the same class as Bach, Mozart and Beethoven. 
Til en utenlandsk journalist sa Grieg rett før han døde; ”Jeg har ingen pretensjoner om å være i en klasse med Bach, Mozart og Beethoven.
Their works are eternal, while I have written for my day and generation.” 
Deres verker er evige, men jeg har skrevet for min egen tid og min egen generasjon”.
Here he was wrong. 
Her tok altså Grieg feil.
And I am glad of that. 
Og det er jeg glad for.
At the keys. 
Ved tangentene.
As close as they can get to Grieg himself. 
Tett på.
Good art is not introspective. 
God kunst er ikke innadvendt.
Good art reaches out. 
God kunst strekker seg ut.
We were reminded of this yesterday when Per Petterson was awarded the prestigious IMPAC Dublin Literary Award. 
– Det ble vi også minnet om da forfatteren Per Petterson mottok den prestisjefylte internasjonale litteraturprisen i Dublin i går.
International cultural meeting places foster growth through the exchange of stimuli, ideas, experience. 
Internasjonale kulturelle møteplasser gir vekst gjennom utveksling av impulser, ideer, erfaringer.
Moreover cultural rights are, as we know, among the inalienable universal human rights. 
Dessuten er de kulturelle rettigheter som vi vet en del av de umistelige, universelle menneskerettighetene.
A strong, dynamic cultural sector guarantees more peaceful, democratic social development. 
Et sterkt og levende kulturliv garanterer for mer fredelig, demokratisk samfunnsutvikling.
Not to mention more value creation. 
For ikke å snakke om verdiskapning.
Grieg was aware of this. 
Dette visste Grieg noe om.
Let me therefore conclude – in the spirit of Grieg – with these four main lines, these four links between music and foreign policy: 
La meg derfor konkludere – i Griegs ånd – med disse fire hovedlinjer, fire kjennetegn – mellom musikk og utenrikspolitikk:
music as a universal, common language, 
Musikk som universelt, felles språk.
music as interaction, harmony and cooperation, 
Musikk som samspill, samklang, samarbeid.
music as a source of both local and global identity, and 
Musikk som gir både lokal og global tilhørighet.
music as a voice for rights, ideals and values. 
Musikk som gir stemme til rettigheter, idealer, verdier.
Dinner in honour of Dr. Gro Harlem Brundtland, Rio de Janeiro 19. juni 2012 
Middag for Gro Harlem Brundtland, Rio de Janeiro 19. juni 2012
Minister of International Development Heikki Holmås gave this speech at a dinner in honour of Dr. Gro Harlem Brundtland in Rio de Janeiro 19 June 2012. 
Utviklingsminister Hekki Holmås holdt denne talen under en middag til ære for Gro Harlem Brundtland i Rio de Janeiro 19. juni.
Dear Dr Brundtland, dear guests – And, if I may, Dear Gro, 
Dear Dr Brundtland, dear guests – And, if I may, Dear Gro,
When I was young, growing up in Bergen on Norway’s west coast, you were Prime Minister and for all Norwegians, just “Gro”. 
When I was young, growing up in Bergen on Norway’s west coast, you were Prime Minister and for all Norwegians, just “Gro”.
It is an honour to be here, 20 years after the first UN Conference on the Environment and Development in 1992, and 25 years after the World Commission on the Environment and Development issued its groundbreaking report. 
It is an honour to be here, 20 years after the first UN Conference on the Environment and Development in 1992, and 25 years after the World Commission on the Environment and Development issued its groundbreaking report.
In the spring of 1990 there was a large pre-conference to Rio in my hometown Bergen. 
In the spring of 1990 there was a large pre-conference to Rio in my hometown Bergen.
Young, radical and impatient, I was among the protesters filling the streets, trying to break into the conference centre. 
Young, radical and impatient, I was among the protesters filling the streets, trying to break into the conference centre.
We thought the political ambitions way too low. 
We thought the political ambitions way too low.
So if somebody sees a certain irony in me being here co-hosting a dinner in honour of Gro, I get their point. 
So if somebody sees a certain irony in me being here co-hosting a dinner in honour of Gro, I get their point.
This is a moment for celebrating what, after all, has been achieved. 
This is a moment for celebrating what, after all, has been achieved.
Child mortality is down 30 percent since 1992. 
Child mortality is down 30 percent since 1992.
School attendance is up from 58 to 78 per cent in Africa. 
School attendance is up from 58 to 78 per cent in Africa.
In 1992 46 percent of the world’s population lived in extreme poverty. 
In 1992 46 percent of the world’s population lived in extreme poverty.
Now we are down to around a quarter. 
Now we are down to around a quarter.
In 1992 we were all very concerned with acid rain and worried about the ozone layer. 
In 1992 we were all very concerned with acid rain and worried about the ozone layer.
Through technological innovation and strengthened international legislation, we have been able to get these hazards under control. 
Through technological innovation and strengthened international legislation, we have been able to get these hazards under control.
In her numerous central roles on the international stage, Gro has been an architect and driver for many of these achievements. 
In her numerous central roles on the international stage, Gro has been an architect and driver for many of these achievements.
But still, this should also be a moment for repeating the message that too little has been done too slowly, and that we now truly need to change the course. 
But still, this should also be a moment for repeating the message that too little has been done too slowly, and that we now truly need to change the course.
The guests here are all familiar with Gro’s achievements on the international scene. 
The guests here are all familiar with Gro’s achievements on the international scene.
Let me therefore dwell a bit on your national legacy. 
Let me therefore dwell a bit on your national legacy.
You first entered national politics as Minister of the Environment in 1974. 
You first entered national politics as Minister of the Environment in 1974.
I believe it is right to say that you pretty much shaped modern Norwegian environmental policy. 
I believe it is right to say that you pretty much shaped modern Norwegian environmental policy.
Furthermore, Gro was the person who paved the way for women on the national political stage. 
Furthermore, Gro was the person who paved the way for women on the national political stage.
When she, as Prime Minister, formed her second government in 1986, it had more than 40 percent female cabinet members. 
When she, as Prime Minister, formed her second government in 1986, it had more than 40 percent female cabinet members.
Since then there has been no turning back. 
Since then there has been no turning back.