Aftenposten 8 September 1994
His world of sound is international
by Kjell Bækkelund
When today's Music Norway occupies a natural place on the international 'map', is due not only to orchestras and larger ensembles, but individuals whose capacity and efforts contribute to the standard. Like for example many of our composers.
The now 75-year-old Johan Kvandal occupies a natural place here. On a day like this, it may be appropriate to remember this: Johan Kvandal - whose central role in contemporary Norwegian music scene is obvious to all - does not have his works performed only in Norway but also in large parts of the world. Recently, his flute concerto was performed in Japanese television.
Concerto for two pianos and orchestra - which will soon have it's Norwegian first performance - was premiered in the United States. Earlier this year, and last fall it was almost Kvandal fever in Germany and the Netherlands, where Concerto for fiddle and string quartet was performed.
One can certainly ask what the reason for this international interest is: Does Kvandal not write music that is often based on folklore? On Norwegian folk musical grounds? He does, quite often. He has repeatedly acknowledged his close relationship with Norwegian folk music and what, for the sake of convenience, is called 'traditionalism'.
He grew up in an environment that cared for the Norwegian, but the steady composer Kvandal has been internationalized since a long time, both in mind and views. Thus, there is no contradiction between the national and international.
Studies - including with Nadia Boulanger in Paris - opened his eyes to a world of sound that can easily be said to be 'international'. It's exciting, this: How the national in music can be relevant for people far from the origin - and not only with Edvard Grieg's genius in mind. It also applies to Johan Kvandal.
Just this year, I personally experienced how his opus 31 - the 'Fantasies on Three Country Dances' for piano based on Norwegian folk music themes - has hit down like a flashing lightning, both in Belgrade, Budapest and Damascus.
I have witnessed how music students in Damascus listened passionately to Kvandal's music, and I have read how the the Budapest newspapers describe his music as innovative and original, I have seen and heard how Tel Aviv's sophisticated music audience and Stockholm's discerning audience listened to Kvandal's music with the greatest curiosity.
It is therefore one of our greatest musical ambassadors who reach the age of 75. In all the commotion and tribute, that should also be mentioned by a friend and admirer.
Many congratulations. He has certainly made an effort to remember!