Matrehola

On a large gravel terrace in Matredalen (the Matre valley), a couple of kilometres from the coastal settlement Matre, lies Storseterhilleren, at the end of a large stone block that came rushing down from the mountain. The Matre river runs just over 100 metres to the east of the cave.

Rambjørg

Trodalen

Landsvik

Nottveit

In one of the frame-built haysheds at Nottveit, at holding No. 3, we discover that several of the staves have a medieval look, with large dimensions and carefully rounded edges. According to tradition, it was the farms Nottveit and Mostraumen that supplied the timber for the stave church at Mo, and it is not unlikely that these farms received the old timber in return when the new church was erected there in 1593.

Valestrand

Moster- The old church

Moster is mentioned as a church site already in the time of Olav Tryggvason. According to the sagas the king is supposed to have laid the foundations for the first church at Moster when he came there in 995. That building would have been a stave church - the church standing there today – a stone church with a nave and narrower, straight chancel – was probably founded around 1100. In 1874 a new church was built at Moster. Then the old church was bought by The Society for the Preservation of Norwegian Ancient Monuments, which is still the owner.

Støle church

The stone church at Støle may have been built around 1160 probably as a private chapel for the mighty Stødle clan. It is likely that it was Erling Skakke, the king’s representative and father of king Magnus Erlingsson, who built the church.

Ådlandsstova

The Ådland house is one of the biggest medieval houses still existing in West Norway. It is constructed from unusually large, hard fir wood, beautifully oval-cut. One story links the cottage to the Gildeskålbakken at Orninggård (Lower Ådland); thus indicating that the cottage has been the medieval banqueting hall. The building has been dated back to the 13-1400s by carbon dating.

In Memory of Fartein Valen

“Fartein Valen is the key figure within newer Norwegian music. Not by way of being more popular than other younger composers, but because he aims at things higher, which he is fully confident of being able to reach since he commands all techniques. But there is a price to pay for reaching above the ordinary, and there is a price to pay for demanding more than the ordinary from the listeners. This is something Valen has experienced”.