Torgeir Kinne Solsvik (b. 1979) comes from Vikøy in Hardanger, Western Norway.

He studied piano with Jan Hovden at the Grieg Academy in Bergen, and with Nikolai Evrov, Gerard Willems and David Miller at the Sydney Conservatorium of Music.

After completing his studies, he left Australia for North Norway, where he worked as a district musician for two years before returning to Hardanger.

As a soloist, chamber musician and accompanist, Kinne Solsvik has an active musical career both in Norway and abroad. One of his areas of specialty is the piano trio, with repertoire including works by Beethoven, Brahms, Smetana, Debussy, Mendelssohn, Weber and Martinu.

Similarly, the music of Edvard Grieg and Geirr Tveitt has been part of his concert programmes in Germany, Austria, Latvia, Russia,

Sri Lanka, China, Australia and the US.

The songs of Sergei Rachmaninov figure prominently in Kinne Solsvik’s repertoire as well, in addition to a number of other Russian composers.

In 2012, this resulted in a CD release together with the Russian singer Olga Sosnovskaya.

Kinne Solsvik has been an active recording artist since his early twenties. In 2000 he recorded a double CD with the complete

50 Folk-Tunes from Hardanger op. 150 by Geirr Tveitt, and Slåtter (Norwegian Peasant Dances) op. 72 by Edvard Grieg.

The music of Grieg and Tveitt is a recurring theme in Kinne Solsvik’s repertoire, and both composers are represented on a number of recordings released on the record label Kinne Piano over the past few years. In addition to being a versatile pianist, Kinne Solsvik

also works as a producer, choral director, organist, piano tuner and sales representative for August Förster pianos.


Every early morning in my wakefulness, I see a black silhouette getting up on the other side of the bed, and Mozart`s “Alla Turca” plays in my head.


I was always going to use classical piano as music in the film. 

Generic music from the internet was never an option to me.

Back home in Norway, I spoke to Torgeir, a friend and pianist, about the idea -and he was on board.


He pictured my visual storyline, and immediately thought of the piece “Papillions” by Schumann. He played it for me and explained  how it builds around the theme of butterflies, hence the title.

I ended up using large sequences from the 15 minutes piece, in most of the film. 

                                                - Mirjam-                June 9th 2017