Norwegian Music Folder

[gpdlt2010]

Thanks to AS for the Elling symphony. A most beautiful & dramatic work. It's hard to understand why this work is not performed more often.

[jerfilm]

Yes, Atsushi, thanks so much.  A real gem.   A friend sent me a cassette of #2 years ago and I've always wondered about #1.  Wonder no more, Jer......

J

[lechner1110]

  You are welcome
  I also think why this wonderful symphony has long been forgotten. 
  Anyway I want to say my big thank you for Miklos that provide us this wonderful work

[jowcol]

Music of Ludvig Irgens-Jensen


1-2: "Homeward" Symphony (Choral)
Norwegian Radio Orchestra
Odd Grunner-Hegge, Conductor
(Chorus unknown)

3: Passacaglia for Orchestra
Oklahoma City Symphony Orchestra
Ovin Fjeldstad Conductor (March 1971)

From the collection of Karl Miller

Some information from the "Listen to Norway" website:

Ludvig Irgens Jensen - Biography
06.01.2006 | By: Arvid Vollsnes

As a composer, Ludvig Irgens-Jensen (1894-1969) was in many ways both creating something genuinely new as well as conserving tradition. He started to study philology at the University of Oslo at the same time that he took piano lessons with, among others, Nils Larsen, then Norway's leading piano teacher. He undertook all of his musical studies, apart from the piano lessons, on his own and he never had a teacher in composition. As time passed, thorough studies of musical scores and topics in music theory took all his time. He also had short periods of study in Germany, Denmark and France.

His debut as a composer in 1920 was with a number of songs which attracted considerable interest, and in those days they seemed quite radical to many listeners as well as to Norwegian critics. Vocal music became an important part of his production. Perhaps most familiar is the song "Altar", written to a poem by Halldis Moren Vesaas. On the occasion of the 900th anniversary celebrations in 1930 to commemorate the death of the saint-king Olav and the subsequent christianisation of Norway, the oratorio Heimferd, a "dramatic symphony" for solo choir and orchestra, won first prize in a national competition. The work (with text by Olav Gullvåg) created enormous enthusiasm and, in the first months following its premiere, was performed twelve times in order to accommodate public demand. Heimferd is considered a national monument because of both the content and the musical material, and represents a major work within the Norwegian oratorial tradition. Other great vocal works to be mentioned are Der Gott und die Bajadere (Text: Goethe), a cantata from 1932, and Japanischer Frühling (Japanese Spring, with Japanese poetry), a vocal cycle from 1957.

Irgens-Jensen began to compose larger instrumental works early in his career, and orchestral works such as Tema con variazioni (1925/34) and Passacaglia (1927) are considered essential works in the Norwegian literature for orchestra. One of the few works for orchestra where national traits are noticeable, is the orchestral suite Partita sinfonica (1939), which builds on his stage music for Hans E. Kinck's drama Driftekaren (The Drover).

The war years made a strong impression on Irgens-Jensen, and he composed several songs and choral works to patriotic texts; works that due to the Nazi rule were distributed anonymously and illegally. During the occupation he also wrote his Symphony in D minor, which won first prize at a secret competition held in 1943, on the occasion of the 25 year Jubilee of the Society of Norwegian Composers.

Ludvig Irgens-Jensen kept himself apart from the musical fashions of his time, even though his music was concerned with current directions and is readily characterized as Neo-Classical. He was an important contributor to the reintroduction of polyphony as both a formative element and a means of expression in Norwegian music during the period between the wars. His strong focus on the strictly logical-dynamic in a well-proportioned form, his refined literary taste and sensitivity, together with his ethical seriousness and philosophical inclination, have left their mark on Norwegian music. Today, he is seen as one of the truly important Norwegian composers of the twentieth century.
Translation: Palmyre Pierroux



And the Naxos Bio:

LUDVIG IRGENS-JENSEN 
(1894 - 1969)

Ludvig Irgens-Jensen was born on 13 April 1894 in Christiania (as Oslo was then called) and died on 11 April 1969 during a trip to Italy. Many Norwegian composers have had close connections with folk music and have aimed to create a national musical identity. Irgens-Jensen on the other hand could be described as European, with more of a focus on form and other musical elements in their own right. He was powerfully influenced by German and French culture, and spent extended periods in Berlin and Paris. He learnt the piano, but never tried to study composition at a conservatory. Nevertheless he was regarded by his composer-colleagues as one of the most skilful among them. He was something of a humanistic philosopher, with an all-embracing vision of art. Throughout his life's work he grappled with the big questions about human existence. He also wrote poetry, and was accomplished at drawing and watercolour painting. Friends tell of a quiet man, wise and deeply empathetic. He loved nature and the outdoor life, and often went climbing in Norway's highest mountain range, Jotunheimen.

Much of Irgens-Jensen's music has a characteristic elegiac melancholy. As well as being a sensitive lyric poet he was also a sceptic and rationalist: 'there are no shortcuts in art', he said. When asked which earlier composers he admired, he replied: 'I have my heroes, Bach and Palestrina, Chopin and Brahms, everyone who wrote music of real importance'. He said that his goal was a universal, classical art, growing not from an 'individualistic state of mind' but from a mentality like that of Johann Sebastian Bach (1685–1750), 'where humility and a desire to serve were profound realities'. When young, Irgens-Jensen was viewed as one of the modernists, together with composers such as Fartein Valen (1887–1952), Pauline Hall (1890–1969) and Harald Saeverud (1897–1992). Later some saw him as a conservative classicist.

[jowcol]

Poem for  a Lost World for Violin and String Orchestra(Op. 66B, 1985) , by Johan Kvandal
Private recording, performers unknown.

From the collection of Karl Miller


Kvandal outgrew a flirtation with the Avante-Garde and developed his style as a tonal composer.   This is a very approachable work.  He's one I'd like to learn more about.


From the Bio on his website:

Early impulses (1919-1951)
From an early age Kvandal received impressions from a rich artistic environment. His father, the composer David Monrad Johansen and mother 'Lissa' were constantly on the move. The young Johan was brought to Paris, lived in Arne and Hulda Garborg's house in the 'artist valley' at Hvalstad and the Ekeberg artists' colony. Every summer was spent in the mountain valley Østerdalen. There, a vibrant community surrounded the Norwegian anarchist writers Arne Garborg and Ivar Mortensson Egnund. The cultural influences and beautiful mountain landscapes were abundant sources of inspiration throughout Kvandal's life. After having lived on nine different locations the family finally got a permanent home close to Oslo in 1935. Painter Henrik Sørensen found the suitable property and architect Arnstein Arneberg designed the characteristic building – successively the home of composer Monrad Johansen and his son Johan Kvandal.
Kvandal studied composition with Geirr Tveitt from 1937- 1942 and Joseph Marx in Vienna 1942-44. He graduated from the Music Conservatory in Oslo as a conductor in 1947 and as an organist in 1951. He also studied theory with Per Steenberg and organ with Arild Sandvold. Like other composers of his generation Kvandal was influenced in his early works by the then prevailing national movement in the 1920's and 1930's. This can be seen in Seven Songs, Op. 4 and the Piano Pieces op. 1 and 5. His early work also reveal an urge to combine Norwegian folk music elements with classical forms such as the rondo and sonata form, e.g. Sonatina for Piano op. 2 and Norwegian Overture op. 7.

Paris and the avantgarde (1952-1969)
Kvandal's stay in Paris in 1952- 54 became an important turning point. Through studies with Nadia Boulanger at the Conservatoire de Paris he was exposed to an extremely inspiring musical environment. He became familiar with the works of Bartók and the later works of Stravinskij and Messiaen. In the 50s and 60s he integrated elements from international contemporary music scene, but without employing atonality or electronic aids. The result was a far greater compositional freedom. From 1970 he returned to his core with strong impulses from Norwegian folk music. But this time it became synthesised with an equally important feeling for the international contemporary music. This led to an innovative musical language based on what Kvandal himself defines as modern tonality.

Kvandal's modern musical expression is reflected in Variations and Fugue op. 14 for orchestra (1954), Duo for Violin and Cello op. 19. (1959), Symphony No. 1 op. 18 (1958-59), Symphonic Epos op. 21 for orchestra (1962), Flute Concerto op. 22 (1963) and String Quartet No. 2 op. 27 (1965-66). Symphonic Epos was his final breakthrough, and the conductor Odd Grüner-Hegge pronounced that 'this is a work of European importance.' The conductor Herbert Blomstedt appreciated the music of the young composer and premiered Kvandal's Flute Concerto op. 22 in 1963. The contemporary music association Ny Musikk comissioned a string quartet in 1965, which resultet in String Quartet nr. 2 op. 27.  It is Kvandal's most experimental piece, summing up his modernistic periode in the 60s.
   
New synthesis (1970-1979)
In his youth, Kvandal had experienced  the Norwegian modal tonality of folk music, which he later combined with the sonata and symphony form. He said that this form of classical music was not a conformity, but an enormous field of energy, which he as a composer could activate. The 70s was a rich decade in Kvandal's production. He turned back to a more melodic style. Fantasies on Three Country Dances op. 31 (1969) introduced a new turn back to folk music inspiration. Antagonia op. 38 for two string orchestras and percussion (1972-73) reveals a synthesis of the national and international tendencies in Kvandal's compositions. His later works often contain transformed folk music material, for instance Sonata for Solo Violin op. 45 (1976) and Concerto for Oboe and Orchestra op. 46 (1976-77). At the same time, romantic elements become progressively more discernible, particularly in Michelangelo Poem op. 49 (1977) and the large-scale Concerto for Violin and Orchestra op. 52 (1979). One of the music critics wrote: 'Kvandal's Violin Concerto is such a monumental composition that I would not be surprised if it were the best Norwegian work in this genre.'

Composer in demand (1980-1999)
The 80s and 90s were extremely busy decades for Kvandal, with new commissions accumulating and actually having to wait in line. The opera Mysteries is Kvandal's major opus. Based on the novel with the same name by Knut Hamsun, the opera was commissioned by The Norwegian National Opera & Ballet and was mainly written during the early 90s. The world premiere took place in January 1994 as part of a Norwegian Music Festival in connection with the Olympic Games at Lillehammer. The opera music received excellent media reviews and was performed a dozen times in 1994 og 1995. The opera was followed by the colourful Concerto for Two Pianos and Orchestra op. 77, commissioned by The Edvard Grieg Society in New York for the Grieg jubilee in 1993. Sonata for Strings op. 79 (1994) was commissioned by the Arts Council of Norway (Norsk Kulturråd) for its 30th Anniversary. In 1995 Trondheim Symphony Orchestra commissioned a work for the Kirsten Flagstad Jubilee and the result was Eternal Summer op. 80 (1995) for soprano and symphony orchestra, based on three Shakespeare texts. Sonata for Viola and Piano op. 81 (1995) was commissioned by Leif Ove Andsnes and Lars Anders Tomter for the Risør Festival of Chamber Music. After Fantasia for Hardanger fiddle and String orchestra op. 82. came Fantasia for Organ and Strings op. 83, followed by Missa Brevis op. 84 for mixed choir and organ.The last work Kvandal completed is Concerto for Piano and Orchestra op. 85, commissioned by the Elverum Music Festival 1998 and The Norwegian Youth Symphony Orchestra. It was written for pianist Håvard Gimse, who recently recorded the concerto together with Kvandal's father Monrad Johansen's Piano Concerto.

"His world of sound is international"
With strong roots in the European tonal musical tradition Kvandal inevitably came to represent an opponent voice in the prevailing experimental modernist environment. It remained a life-long paradox for Kvandal that a radical avantgarde itself had turned into a powerful establishment. In 1988 Kvandal critisised openly the favoring of atonal music in the Norwegian Society of Composers (see Quotes). Financed with own funds he released an album with the most important orchestral works in 1998, also known as his "protest album" (see Articles). Simultaneously, towards the end of his life, Kvandal experienced an increasing international interest in his music. The trend continues into 2012, with performances in New York, Dubai, Berlin, Aix-en-Provence, Devon, Scotland, Australia and India only the two last years. This testifies what pianist and journalist Kjell Bækkelund once wrote: "His world of sound is international" (see Articles).

Ingar Sletten Kolloen: Interview with Johan Kvandal in Aftenposten 23th February 1984

-Music is something truly mysterious

Johan Kvandal, one of our most performed contemporary composers, highly respected music critic in Aftenposten for years, record producer, lecturer, church organist, member of the TONO board and part of the Norwegian Arts Council's board of musicians, new dad... has written more than 60 works. One of them is 'Antagonia'. It means contradictions that belong together. An understandable choice of title.

30 years ago a relatively young composer came back to Oslo after staying several years in Paris. - Two years passed until I was able to compose anything. All the impressions needed time to sink in. Luckily, I understood that, in the same intuitive way that I earlier realized the need to break up from many things in and around me. Isn't is like that with all of us, that in certain periods we need to meet a kind of good and evil spirits of the past? Kvandal is wondering.

'Old-fashioned'
During the experimental and increasingly radical post-war years, Johan Kvandal was characterized by some as an old-fashioned composer.
- It is rather like I have always been an oppositional, the 64-year-old says quitely. These days he experiences having his works performed in Norway and abroad, and commisions for new works must wait in line.

- It was of course not easy to be accepted by my father's, David Monrad Johansen's contemporaries, who were based in much I had to make some kind of rebellion against. And my contemporaries were mostly modernists, to whom I had personal bonds. But I did not have a close artistic bond to any of these groups.

Kvandal has been inspired by widely different sources at different times. - But I have always held on to the tonal music, because it always has been a measure to be clear. I have never found it difficult to compose within the classic forms. No, what am I saying, now I talk just like a modernist, turning to non-instrumental effects in his eagerness to create 'different sound'. Some call this innovative, radicalism. It might have been in so Schönberg's time. Well, back to these basic principles I think must apply. I do not for example find the sonata form limiting, but simply as en enormous field of energy, which I as a composer can activate. But I have been wondering alot about what really happens. The longer I live, the more mysterious the music appears to me. Something absolutely amazing happens when the music of 'the great' is performed, the non-physical in us is inspired into movement.

The mysterious
During the conversation he continuously mentions his fear of grandiose words and expressions.

- But can we evade the notion of spirit in order to graps what hides behind the measureable? A composer's true inspiration can be transferred to ever new listeners in the future. An amazing process! My old pedagogue Nadia Boulanger once said: 'The geniouses were great musicians. Without knowing it, but posterity knows, they also touched the mysterious'. This is how I regard the non-material in our existence.



Handwritten note by the Composer:
Like most Norwegian composers of my generation, I began writing music with close ties to Norwegian tonal feeling, but without integrating folk music. This applies to all the early works, like songs opus 4 and Norwegian Overture op. 7, things that are still performed, the overture even very often. Eventually a need to orient myself away from this direction emerged. In the longer term, the stay in Paris from 1952 to 1954 helped me in this struggle. It wasn't in any way a break with tonality, only an expansion and enrichment of aids towards what I would call a modern tonality. This is perhaps most noticable in Symphonic Epos, op. 22 and even more in the String Quartet No. 2 op. 27.

With the music of Skipper Worse, I was involuntarily led back home, and an assignment from the Bergen International Festival to produce adaptions of Norwegian folk tunes for piano for the first time brought me in direct relation to Norwegian folk music (apart from small adaptions in op. 5). With the experience I had gained in the meantime, I could now approach the folk music without being encumbered by some sort of national issues, but look at it from a more healthy angle, as a distinctive and interesting music in and of itself.

When it comes to the Stev tunes (op. 40), I would like to mention that my mother was a great connoisseur of Norwegian folk music and sang the old folk and stev tunes for me since I was little. Only now did I, however, feel so free in relation to the material that I would dare to attempt at an adaption. In Antagonia op. 38 I think I have managed to gather and combine my experiences in the best way. In the last movement I use a stev tune, but in such a way that it is completely integrated in the style. I studied Herbert Eimerts Lehrebuch Zwôlftontechnik and in the 60s I followed closely the development, by doing many study trips. All I have heard and studied, however, has strenghtened my belief in the tonal principle.

But one's musical expression has really more to do with instinct, a kind of voice of the heart, than with the outer intellect.