Some talents are precocious and reach fame early. Others gain their greatest successes later in life. Johan Kvandal belongs to the latter cathegory. After entering the retirement age he is more sought-after, diligently performed and popular than ever before. Tomorrow, the composer celebrates his 75th birthday. Continue reading
Kvandal’s protest release
Finally, the Norwegian composer Johan Kvandal (78), one of Norway’s most performed composers has fulfilled his long time dream of having his most important works recorded. He has worked on the case for a long time and finally decided, almost in protest, to use a Russian orchestra.
Quotes
“I must say that I find it difficult to talk about my own music. A composer is not some kind of philosopher, he is simply a musician. That is how I feel about it. I think that it is the sounding result that matters. If it isn’t good enough, it wont help with a lot nice words, and if it is good enough, there is perhaps no need to say so much. In my opinion.”
Quotes about Kvandal:
■ His trademark is what he calls modern tonality. He does not employ tonality uncritically, but renews it in its own way. Within the function–harmonic pattern he uses stand alone dissonance, which inspired by Norwegian folk music, creates much more modern harmonics than we‘re used to from Grieg (….). Grieg was a pioneer, but Kvandal goes even further.
■ He creates a synthesis between our own soil and international influence. The way he treats the Norwegian sound material with international tools, so to speak, fascinates me.
(Conductor Ole Kristian Ruud, interviewed by Morten Gaathaug in Anniversary Tribute to Johan Kvandal on the occasion of his 70th birthday, NMO)
■ I found his ‘Song to Stella’ from 1951, based on Wergeland’s poetry, especially impressive, and the Solo Cantata from 1953 to biblical texts. The latter was performed by Kirsten Flagstad, which of course not made my admiration any smaller.
Arne Nordheim, in Anniversary Tribute to Johan Kvandal on the occasion of his 70th birthday, NMO)
■ I am deeply impressed by the diversity on the Norwegian music scene! However, if I may have a wish, it would be that this diversity was better reflected outside Norway’s borders. I think, for example, that Johan Kvandal is a great composer, whom we should listen more to here in England. I am impressed by Johan Kvandal’s Antagonia for orchestra. Kvandal is an excellent composer.
British music expert Robert Layton, Aftenposten, 26 October 1993
■ I refer to this as 20th century Mozart.
Music Director & Conductor David Ulfeng, Leiv Erikssons International Festival on the Oboe Concerto op. 46.
■ It is in my opinion one of the best Norwegian works for orchestra.
Conductor Mariss Jansons om Antagonia op. 38, Aftenposten, 1988
■ I think Hamsun would have been proud and rather amazed by the result. Both how the plot flowed well as the story was told, and not least how the opera managed to portray the complicated Johan Nilsen Nagel with credibility.
Hamsun expert Robert Ferguson on the opera Mysteries, Dagbladet, 16 January 1994
■ This work was favorably chosen as the Oslo Philharmonic Orchestra’s opening number. It has a rich material, is very well orchestrated and composed throughout. Immediately, it gave the orchestra the opportunity to demonstrate what it is good for and to capture the interest of the audience. Under the professional supervision of Mariss Jansons the work was warmly received.
Music expert, pianist and pedagogue (teacher of Andsnes, Gimse and Hadland) Jiri Hlinika on the performance of Triptychon during the Edinburgh festival, 1989
■ A musical masterpiece.
Conductor Per Åke Anderson on the opera ‘Mysteries’
■ I do believe that Kvandal with time will grow as a composer. His craftsmanship is so amazingly skillful, and even if he in many ways was living 50 years too late, he is not the only one. Geirr Tveitt, for example, has a renaissance now, but according to his friends, he lived many centuries too late. So it may be fine to be a bit out of sync with the times.
Pianist Håvard Gimse, Dagbladet, 23 September 2008
Quotes by Kvandal:
■ Everything I have heard and studied has strengthened my belief in the tonal principle. But each individual mode of expression is, however, more connected to instinct – a kind of a voice of the heart – than to the external intellect.
■ Modernism is nothing new, but rather a termination of a Middle European tradition.
■ Classical music forms create an enormous field of energy, which I as a composer can activate.
■ If being a neo-classisist means having clear musical ideas and developing them in a clear way – yes, then I am a neo-classisist.
■ The longer I live, the more mysterious 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.
■ It must be allowed to criticize – even in public. A public discussion is actually necessary. Although I experience to be met with respect on the music scene, the attitude in my own union (Norwegian Society of Composers) is condescending. It has been for several years. What is new is that others feel the same way – even the younger members. This must cease, and a more inclusive and accepting attitude must come. I have been approached by several young people who are reluctant to seek membership in the association because of the one-sidedness that seems to prevail there. A positive attitude must be presented. It‘s not about being against something, but pro something. Only in such a spirit can a fruitful diversity prevail among us.
Aftenposten, 10 October 1988
Sitater om Kvandal:
■ Sitt varemerke har han i det han kaller den moderne tonalitet. I det ligger at han ikke bare bruker tonaliteten ukritisk, han fornyer den på sin egen måte. Innenfor det funksjonsharmoniske mønsteret bruker han frittstående dissonanser, som inspirert av norsk folkemusikk skaper en adskillig mer moderne grunnharmonikk enn vi er vant til fra Griegs tid (…). Grieg var en pionér, men Kvandal går enda videre.
■ Han danner en syntese mellom vår egen grunn og internasjonal påvirkning. Måten han behandler det norske tonestoffet på, med internasjonalt verktøy så og si, det fascinerer meg.
Dirigent Ole Kristian Ruud intervjuet av Morten Gaathaug i Festskrift til Johan Kvandal i anledning 70-årsdagen.
■Særlig imponerende fant jeg hans ‘Sang til Stella’ fra 1951, til Henrik Wergelands dikt, og Solokantaten opus 10 fra 1953, til bibelske tekster. At det siste verket ble fremført av Kirsten Flagstad gjorde jo ikke beundringen noe ringere.
Arne Nordheim, i Festskrift til Johan Kvandal i anledning 70-årsdagen.
■ Jeg er dypt imponert over bredden i dagens norske musikkliv! Skal jeg likevel komme med et ønske, er det at bredden kom bedre til uttrykk også utenfor Norges grenser. Jeg mener for eksempel at Johan Kvandal er en stor komponist som vi her i England burde høre mer av. Jeg er imponert over Johan Kvandals Antagonia for orkester. Kvandal er en fin komponist.
Den britiske musikkeksperten Robert Layton, Aftenposten, 26.10.1993
■ Jeg refererer til dette verket som 1900-tallets Mozart.
Direktør og dirigent David Ulfeng, Leif Eriksson International Festival om Obo-konserten op. 46.
■ Det er etter min oppfatning et av de beste norske orkesterverkene.
Dirigent Mariss Jansons om Antagonia op.38, Aftenposten, 1988.
■ Jeg tror Hamsun ville vært stolt, og ikke så lite forundret over resultatet. Både hvordan handlingen fløt godt etter hvert som historien ble fortalt, og ikke minst over hvordan operaen så troverdig klarte å fremstille den kompliserte Johan Nilsen Nagel.
Hamsun-ekspert Robert Ferguson, Dagbladet, 16.01.1994.
■ Dette verket var heldig valgt som Oslo Filharmoniens åpningsnummer. Det har rikt materiale, er meget godt gjennomkomponert og instrumentert. Det gav straks orkesteret anledning til å vise hva de enkelte gruppene er gode for og å fange publikums interesse. Under Mariss Jansons profesjonelle ledelse ble verket varmt mottatt.
Musikkekspert, pianist og klaverpedagog (Andsnes, Gimse og Hadland) Jiri Hlinka om Tripthychon under Edinburgh-festivalen, 1989.
■ Et musikalsk mesterverk
Dirigent Per Åke Andersen om operaen ‘Mysterier’.
■ Jeg tror Kvandal vil vokse som komponist med tida. Håndverket hans er så utrolig skikkelig hele veien, og selv om han på mange måter levde 50 år for seint, er han ikke den eneste. Geirr Tveitt, for eksempel, har en renessanse nå, men han levde ifølge vennene sine mange hundre år for seint. Så det kan gå bra å være litt i utakt med tida.
Pianist Håvard Gimse, Dagbladet 23. september 2008.
■ Kvandal har skapt et stort antall verker, der han på en mesterlig måte uttrykker seg i et tonespråk som har røtter i det nasjonale, som har klassisk form, og som samtidig har kunstnerisk selvstendige rammer som går langt utover disse tradisjonelle rammer. Styret vil også fremheve Kvandals grundige håndverk, som preger hele hans allsidige produksjon, enten det dreier seg om store symfoniske verker, instrumentale kammermusikkverker eller vokal kirkemusikk. Alle disse dimensjoner gjør at han vinner gehør i svært brede kretser, både blant profesjonelle utøvere og amatører, og hos det lyttende publikum.
Juryens begrunnelse ved tildelingen av Lindemanprisen for ‘betydningsfull innsats i norsk musikkliv’ i 1984.
Sitater av Kvandal:
■ Ved å bruke de klassiske musikkformene oppstår et enormt energifelt, som jeg som komponist kan aktivere.
■ Hvis det å ha klare musikalske idéer og å utvikle dem klart – hvis dette er å være neoklassiker – ja, da er jeg dét.
■ Alt jeg har hørt og studert har styrket min tro på det tonale prinsipp. Men ens musikalske uttrykkssett har vel mer med instinkt – en slags hjertets røst å gjøre – enn med den ytre forstand.
■ Modernismen er ikke noe nytt, men mer en avslutning på en mellomeuropeisk tradisjon.
■ Oppbyggingen av Norge har alltid gått hånd i hånd med det radikale, men nå er det omvendt. Nå har det radikale fått status som det etablerte. “”Alle”” er idag radikale, og har man først fått kjøttstempelet, så gir det adgang til det meste.
■ Jo lenger jeg lever, jo mer mysteriøs forekommer musikken meg. Noe helt forunderlig skjer når de ‘stores’ musikk blir spilt, det ikke-fysiske i oss blir satt i bevegelse.
■ Det må være tillatt å kritisere – også offentlig. En oppvask er nemlig nødvendig. Selv opplever jeg å bli møtt med respekt i musikklivet, men i min egen fagforening er holdningen nedlatende. Slik har det vært i flere år. Det nye er at andre føler det på samme måte – også blant de yngre medlemmene. Dette må opphøre, og en mer inkluderende og aksepterende holdning må komme. Selv er jeg blitt oppsøkt av flere unge som er reservert overfor å søke medlemskap i foreningen på grunn av den ensidighet som synes å råde der. En positivitet må frem. Det er ikke snakk om å være imot noe, men for noe. Bare i en slik ånd kan en fruktbar mangfoldighet vinne frem iblant oss.” Aftenposten, 10.05.1988.
Hamsun would have been proud
For the first time in history, it is possible to hear a novel by Knut Hamsun sung. Yesterday, Mysteries had it’s world premiere at The Norwegian Opera. Perhaps the genious writer would have been deeply troubled to his soul just by the thought of it. But Hamsun expert Robert Ferguson, who has heard the opera together with Dagbladet, is surprised and amazed by how well Hamsun’s spirit has been kept.
Between dream and melodrama
Klassekampen: – Thanks to Johan Kvandal’s strong, but introverted music, Hamsun’s “Mysteries” has survived the leap from literary existential foreignness to music drama.
Operatic Mysteries
“I have dreamed of a great deed on Earth”, says Johan Nilsen Nagel, the main character in Johan Kvandal’s opera Mysteries, thereby putting the main theme of the opera into works. Kvandal started working on Mysteries at the beginning of 1990. The novel is about strong characters who are well suited for musical drama, says Kvandal.
Captured in a Hamsun opera
Johan Kvandal’s opera based on Hamsun’s Mysteries’ is an engaging and most respect-worthy piece of music drama. Continue reading
Kvandal on his Hamsun opera: – I am looking for the genuine
– I was in Stockholm the other day and saw an opera about a composer who was unable to finish his commissioned opera. I couldn’t get back home to my piano quickly enough, to mye stacks of blank sheet music and Hamsun Books. Says Johan Kvandal in his home at the outskirts of Oslo, adding note by note to what will hopefully become an opera built on Hamsun novel Mysteries, all while the National Theatre cast all stage lighting on Knut Hamsun.
Audience success and a musical vitamin injection
The composer Johan Kvandal’s opera ‘Mysteries’, opus 75, was premiered in the Norwegian Opera on Saturday. It was a winner with the audience and a musical vitamin injection. Broadly constructed, it has an impact both as a musical work and as a theatrical performance.
The mysterious Johan Kvandal
– Why do I think ‘Mysteries’ is suitable as an opera? Well, this distinct cast of carachters lends itself brilliantly to the stage! Johan Nilsen Nagen – ” in an eccentric yellow suit and with a wide velvet hat”, Dagny Kielland – “with a thick blonde braid down her back”, Martha Gude – “her hair is white; her eye hair is terribly black, and appear to make the eyes smolder”, and Minutten – “his walk was so troublesome it was conspicuous; and yet he moved so quickly around”.