sons of norway's cultural skills program unit music ... · he is an accomplished accordion soloist...

Photo: Nancy Bundt, Innovation Norway, visitnorway.com

1455 W. Lake Street, Minneapolis, MN 55408(800) 945-8851 or (612) 827-3611www.sonsofnorway.com ( Rev 05/2014)

Unit 14:music andmusicians

of norway

Sons of Norway's Cultural Skills Program

IN THIS UNITIntroduction |01

Part 1 Instructions & Forms |02



Learning Activities & Resources |30

IntroductIon

Norway’s rich and diverse musical heritage is far too expansive to fit into one unit. Rather than attempting to be totally comprehensive, this unit pro-vides you with a variety of choices to fit your musical and historical interests. The unit introduces the richness and variety of Norwegian music from its roots in times unknown through some of its myriad expressions in the pres-ent day. Some of the suggested materials might review music already known by you; some might encourage you to expand your horizons.

To many people Norwegian music means Edvard Grieg. But as Grieg himself widely acknowledged, much of his music sprang from a much older Norwegian musical heritage. Grieg's great musical gifts, often expressed through old Norwegian folk tunes, have been appreciated and loved for well over a century. New music treasures, however, have been created in Norway since his time, and composers and performers continue to enrich old forms with new vitality.

This unit consists of three levels or parts. In each of the three parts, you will listen and respond to a selection of recordings, and complete one learning activity of your choice. Then you will fill out a simple report form and send it in to Sons of Norway Headquarters, where your report will be evaluated. Finally, in just a few weeks you will receive your pins directly, or through a lodge officer.

Many members have found that this unit works particularly well in a group setting, so if you can, think about getting together with others to learn about and share Norwegian music.

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About the Cultural Skills ProgramSons of Norway's Cultural Skills Program provides a framework for learning about traditional and contemporary Norwegian culture. Each unit consists of three levels of skill-specific activities to guide you as you learn. You can complete the units on your own, through your lodge or through a special class or group. For each level, you'll complete a few activities, email (or mail) them in to Sons of Norway Headquarters, get feedback, and earn a pin in recognition of your accomplishments. As a benefit of membership, the Cultural Skills Program is available only to members of Sons of Norway.

When you complete part 1 of your first unit you'll receive a Cultural Skills pin, a skill bar, and a level 1 bar. You'll receive additional level bars when you complete parts 2 and 3 of that skill, and new skill bars when you complete level 1 of a new skill.

Going Further with Cultural SkillsWant to take your skills to a new level? Members who have com-pleted multiple units or mentored others in the program can earn special recognition.

A Master of Cultural Skills is someone who has completed multiple units. Finish all three parts of any three units for the bronze level, all parts of six units for the silver level and all parts of nine units for the gold level.

A Cultural Skills Mentor instructs or guides others to learn about Norwegian cultural skills. If your instruction has helped other members earn Cultural Skills awards, you can earn a mentor pin.

For more information about the Sons of Norway Cultural Skills Program, call (800) 945-8851 or email [email protected].

Part 1: tradItIonal norwegIan Folk MusIc

You will get started by learning about traditional Norwegian folk music. This is the music that common Norwegians have invented and enjoyed for centuries, and also the music that has inspired the greatest classical Norwegian composers.

This unit can be completed in its entirety using sets of compact discs available from the Sons of Norway media lending library. Each set contains all of the recommended recordings for each part. To order, simply email or call the Cultural Coordinator at Sons of Norway and make a reservation. There are a limited number of sets available, so advanced reservations are appreciated.

However, if you prefer, you can also use other similar recordings. Dozens of great recordings are available through the Sons of Norway media lending library; you can find a complete list of CDs in the “Members Login" section of www.sonsofnorway.com. There you will also find links to YouTube playlists for online listening options that will fulfill the requirements for each level of this unit. Finally, you can also substitute recordings of your own; just contact the Sons of Norway Cultural Coordinator for guidance by emailing [email protected], or by calling (800) 945-8851.

Part 1 ActivitiesActivity 1: Listen to four recordings of traditional Norwegian folk music. Feel free to use the Recommended Recordings described below (available from Sons of Norway). You can also visit the Sons of Norway YouTube channel (SonsofNorwayHQ) for listening playlists or substitute your own alternatives. Recommended RecoRdings Folk Music from Norway Various Artists Heilo HK 7078; copyright 1992 Heilo

This CD is designed as an introduction to Norway's folk music tradition. It contains 22 musical selections by 15 different performers and groups – many of whom are prize-winning artists. It takes the listener on a musical journey through the valleys and districts of Norway. It shows how contemporary artists perform traditional dances and tunes, but also how they draw on their heritage for new compositions (e.g. To the Works and Floating Earth) and transposed works (e.g. Bluebells). Ten dance forms are represented: waltz, reinlender, polka, pols dance, mazurka, halling/lausdans, reel, fandango, springleik and springar.

The instruments played include accordion, Hardanger fiddle, mouth harp and langeleik. Read the insert first, and then locate the different areas on a map of Norway. As you listen to each piece, be aware of the effect of geography—valleys, mountains and fjords—in creating the diversity of Norway's folk music. Note track 18, Happy Tune in Halling Rhythm. This tune is also found in Scotland’s contemporary folk music. "Both Scottish music and blood have been mixed into Gudbrandsdalen culture since 1612. It was then that the great Scottish leader Sinclair, on his way to help the Swedish king in his war against Denmark, met a hard and brutal end at the hands of the farmers in the valley. Many of Sinclair's soldiers, who survived the battle, remained as settlers." The last track is the song of the golden plover, a migratory bird that summers in central and southern Norway. The bird is also the production company’s trademark.

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oveRview:

In Part 1 you will get acquainted with the roots of Norwegian folk music.

In Part 2 you will make a thorough study of Edvard Grieg and other important Norwegian composers of the 18th century.

In Part 3 you will sample an array of modern Norwegian music from the 20th century and today.

For each part, you will complete a pin application form and evaluation form.

If you have a question regarding any part of this unit, please send an email to [email protected] or call (800) 945-8851.

Sons of Norway would like to extend its particular thanks to member Carolyn Solomonson Norquist who wrote the previ-ous versions of this unit upon which this revision is based. Because of Carolyn’s hard work, extensive knowledge and good taste, hundreds of Sons of Norway members have had the opportunity to learn more about Norwegian music. Tusen takk!

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Dolkaren - The Best of Hallvard T. & Torleiv H. Bjørgum Sylvartun SYLVCD 3; copyright Sylvartun Folkemusikk

The CD of "Genuine Folk Music from Norway" contains 22 selections. The old style hardingfele tradition of slåttespel has been passed on by master Knut Heddi through his student Andres Rysstad to the versatile folk musician Torleiv Bjørgum (b. 1921) and his son, champion fiddler Hallvard Bjørgum (b. 1956). The fiddle pieces are performed in the styles of several different fiddlers. The CD booklet provides excellent music and instrument information, photos, and a watercolor painting by Olav Bjørgum Waterfall Spirits and Fiddler (1980). Note the names and descriptions of various Norwegian folk music forms (e.g. slått, kveding, gangar) and folk instruments (e.g. Hardanger fiddle, mouth harp). While listening to the CD, identify (with help from the back cover listing of selections) the type of folk music you are hearing and the instrument(s) being played.

Norwegian Folk Songs and Peasant Dances from Grieg's Op. 66 and Op. 72 Geir Botnen, piano; Knut Hamre, Hardanger fiddle; Reidun Horvei, vocals ProMusica PSC1102; copyright 1993 ProMusica

This CD contains original folk tunes for voice and/or fiddle, followed by Grieg's arrangements of the same tunes for piano. Geir Botnen from Kvam in Hardanger, with "folk music in his blood," received his classical training in piano at the Bergen Conservatory and has "established a position among the Norwegian elite" through his concerts at home and abroad as soloist and in chamber groups.

Reidun Horvei from Voss has studied traditional folk singing—kveding—with some of Norway's leading artists and also studied classical music at the Bergen Conservatory. "She is highly regarded for her interpretations of folk tunes and her deep insight into their origins and history.” Knut Hamre from Granvin in Hardanger has played the Hardanger fiddle since

childhood, studied with master fiddlers, and “is now considered one of the foremost exponents of this national instrument.” Horvei and Hamre are involved full-time in the performance and teaching of folk music. The trio has performed extensively in Norway, including the Troldsalen concert hall at Grieg’s home Troldhaugen during the Bergen International Festival.

Grieg’s Op. 66, Norwegian Folk Songs, is based on tunes for voice, and his folk music source collector was friend, neighbor and amateur musician Frantz Beyer. The piano arrangements were based on songs, herd calls, lullabies and other oral music transcribed by Beyer during his extensive travels; several are thought to be from the singing of shepherdess Gjendine Slålien. The melody for the last piece, “Gjendine’s Cradle Song,” Grieg collected himself from her singing to him and his traveling companions. Each folk tune is sung in its original form, and then played in Grieg’s piano arrangement.

Grieg’s Op. 72, Norwegian Peasant Dances is based on tunes for Hardanger fiddle. Due to concert touring, composing, and failing health, Grieg asked his friend, violinist, and fellow composer Johan Halvorsen to accept master fiddler Knut Dale’s request to write down his dance tunes so they would not be lost. Each dance tune is played in its original form on Hardanger fiddle, and then played in Grieg’s piano arrangement (if there is also a sung version, that is presented first). Observe how the folk melodies are preserved, adapted and expanded in the piano arrangements. (Opus numbers are often used in music, especially instrumental, to show the composer’s individual works in order of composition or publication).

Gatelangs med Ril & Reinlender Tom Rustad; accordion NORCD 151; copyright 1996 Norild Records

This CD contains 16 dance melodies performed on accordion. Several dance forms are presented; polka, reinlender, mazur-ka, waltz, reel, pols, and halling. (For information about Norwegian folk dances, see the Folk Dance Unit of the Cultural Skills Program). The music listings are in Norwegian. The brief biography of the performer does have English translation. As it explains, Tom Rustad (b. 1966) is “the first person in Norway who has taken folk music as his main subject at the Norwegian State Academy of Music.” He is an accomplished accordion soloist and duettist, composer and classical guitar-ist. He has written a composition for string orchestra and diatonic accordion, as well as music for a ballet company. His work was presented in 1990 during the opening of the Bergen International Festival. He holds a position of Master of Arts and Folk Music in Setesdal.


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Activity 2: Complete four Listening Response Forms. You will find the forms on pages 5-8.

Activity 3: Complete one Learning Activity. Choose from any of the Learning Activities listed on pages 30-31. Many of the activities ask you to write a short report or summary. If you write a report or summary, please attach it as a separate document.

Submitting your workComplete the Pin Application Form included in this section and submit it with all of the following items: Listening Response Forms (4) A Learning Activity Unit Evaluation Form

Remember you must include photocopies, photographs or scans of your projects and learning activity requirements with your completed pin application form. Failure to include the required items will delay the awarding of your well-deserved pin or bar! To help make this unit even better, please take time to fill out the evaluation form provided at the end of this unit.

Send materials by email to [email protected] (preferred) or by mail to: Cultural Skills Program Sons of Norway 1455 West Lake Street Minneapolis, MN 55408

If you use traditional mail channels, please make and retain copies of all materials (including photos) prior to sending. Original items will not be returned.

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For each part of the music unit, fill out four Listening Response Forms.

This form can now be filled out and submitted digitally. Just sign in to the "Members Login" section of www.sonsofnorway.com to find a digital copy of this form that you can fill out, save and email with the rest of your report.

This form can also be printed, completed, scanned and emailed with the rest of your report.

Try to answer each question thoroughly, writing whatever comes to mind.

If you would like to write more, feel free to use a separate document.

Listening Response FoRm - music paRt 1

RecoRding 1

Title of recording: ____________________________________________________________

Performer(s): ________________________________________________________________

Instruments used: ____________________________________________________________

Composer: _________________________________________________________________

1. What is the general style or genre of music on this recording? E.g. folk music, classical, pop, etc.

2. Which selections did you particularly like or dislike? Explain.

3. How has this music increased your understanding of Norway's cultural heritage?

4. Other comments about this recording?

5. How did you obtain this recording? Borrowed from Sons of Norway Headquarters Borrowed from local or neighboring lodge Borrowed from individual Purchased for self or family Found online

If you need additional space to complete the questions above, please attach a separate document.

1455 W. Lake Street, Minneapolis, MN 55408(800) 945-8851 or (612) 827-3611www.sonsofnorway.com -5-

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For expedited processing, send materials by email to [email protected]. Reports and pictures can be sent as attachments.



Materials sent by mail may take additional time to process. Mail all matierals to: Sons of Norway Cultural Skills Program 1455 West Lake St. Minneapolis, MN 55408 Please make copies of materials sent by mail. Original items will not be returned.

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1455 W. Lake Street, Minneapolis, MN 55408(800) 945-8851 or (612) 827-3611www.sonsofnorway.com

pin appLication FoRm - music paRt 1

contact inFoRmation:

Name: ______________________________________________________________________

Mailing address: ______________________________________________________________

City: _____________________________________ State/Province: _____________________

Zip/Postal Code: _______________ E-mail address: ________________________________

Phone: (_____)_________________

membeRship inFoRmation: (required)

Membership #:_________________ District #: _________ Lodge #: ________ 1. List the recordings you listened to for Part 1:

Title of Recording Composer/Performer

2. Complete four Listening Response Forms.

Use the Listening Response Forms to answer some basic questions about the music you listened to for Activity 1. You can find the forms on pages 5-8.

3. Learning Activity # _________ If your learning activity requires you to write a short summary, attach it as a separate document.

4. Evaluation Form

Have you received Cultural Skills Program pin awards previously? Yes NoIf yes, please list: _____________________________________________________________

____________________________________________________________________________Signature (Cultural Skills Applicant)** Date

**By signing this form and accepting awards you are giving Sons of Norway Headquarters per-mission to use your photos in future promotional materials. FoR Lodge cuLtuRaL skiLLs administRatoR use onLy

____________________________________________________________________________(Name of Lodge Cultural Skills Admin/Officer) Date

FoR sons oF noRway headquaRteRs use onLy

____________________________________________________________________________(Signature of Fraternal Dept. Cultural Skills Program Coordinator) Date

unit evaLuation FoRm - music paRt 1

I am providing this evaluation form after completing Music - Part 1

For each of the four questions below, please check the box that fits your opinion most accurately.

Agree Disagree

➊ Instructions for this part were easy to follow.

➋ Requirements for this part were reasonable.

➌ Learning activities provided a lot of choices.

➍ Required activities were interesting.

This part has (check all that apply):

Helped me gain a better appreciation of Norwegian heritage & culture.

Increased my involvement with other lodge members (such as participation in formal & informal discussions, presentations, formal group activities, etc.).

Increased the interest of my lodge in the Cultural Skills Program because of my participation through special interest groups, presentations, or cultural fairs.

Offered me an opportunity to involve or pass on this skill/interest to family members or other interested individuals.

Helped prepare me to participate in the district and/or International Folk Art Exhibition & Competition.

Feedback: To improve the unit, please add comments and suggestions. Your comments are confidential and in no way affect the awarding of your earned pin or bar.

____________________________________________________________________________

____________________________________________________________________________

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Part 2: the 19th century

In this part, we will turn our attention to Norway’s greatest composer, Edvard Grieg as well as some of his contem-poraries during the 19th century – the age of national romanticism. Once again, you will listen to a number of recordings, respond to a few of them by completing listening forms, and complete a Learning Activity.

Part 2 ActivitiesActivity 1: Listen to four recordings of Norwegian music from the 19th Century. Feel free to use the Recommended Recordings described below (available from Sons of Norway). You can also visit the Sons of Norway YouTube channel (SonsofNorwayHQ) for a listening playlist or substitute your own alternatives.

Recommended RecoRdings Norwegian Rhapsodies by Johan Svendsen and Johan Halvorsen Trondheim Symphony Orchestra, Ole Kristian Ruud, conductor ProMusica PSC 1085; copyright 1991 ProMusica

This CD contains six Norwegian rhapsodies, four by Svendsen and two by Halvorsen. Svendsen and Halvorsen were friends and musical contemporaries with Grieg. Johan Svendsen was first a violinist but foremost an orchestral composer and conductor. He graduated from Leipzig Conservatory and studied at several other European music centers, then returned to Norway to continue to compose and conduct. His interest in Norwegian folk music is shown in his four individual Norwegian Rhapsodies composed in 1876 and 1877. He used both instrumental and vocal folk tunes, deriving most of his

themes from Lindeman’s collection of folk melodies. He is known for his rich orchestration, disciplined design and contrapuntal themes. Contrapuntal themes are relatively independent melodies sounded together. A rhapsody is a free-form instrumental composition of heroic, national, or rhetorical character, in several loosely integrated sections. Romantic composers in several Western European countries com-posed national rhapsodies to folk melodies.

Johan Halvorsen was first a classically trained violinist who studied and performed in Bergen and Leipzig. After returning to Norway in 1883, he became a conductor and composer. In 1901 he notated folk dance tunes played by Hardanger fiddler Knut Dale (later arranged by Grieg for piano) and started to play the hardingfele himself. In his work Fossegrimen (not on the CD) he was the first to compose for the combination of Hardanger fiddle and symphony orchestra. Halvorsen’s Two Norwegian Rhapsodies were written in 1921. He reportedly got the basis for his folk melodies from a notebook of Johan Svend-sen’s who received his folk melodies from the archivist Lindeman. The rhapsodies ring with the richness of Norwegian folk rhythms and melodies.

Edvard Grieg: Haugtussa, Op. 67; Six Songs, Op. 48; and Four Songs, Op. 21 Marianne Hirsti, soprano; Rudolf Jansen, piano Aurora ARCD 1930; copyright 1988 Norwegian Music Productions Ltd.

This CD is a collection of three sets of art songs. In the mid-1890s Grieg wrote to a friend: “In the last few days I have immersed myself in the strangest poetry: They have just published a book in dialect language by Arne Garborg called Haugtussa [The Mountain Maid]. It is a brilliant book which already flows of music. One only has to write it down.” Grieg’s beautiful Haugtussa song cycle uses texts from Garborg’s book of 71 poems written in Landsmål (now called Nynorsk), a synthesis of Norwegian dialects. The song cycle tells of a young shepherd girl’s life and love.


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Part 2:the 19th

century

As a young man and on the recommendation of Ole Bull, Grieg studied for a time at the Leipzig Conservatory. He wrote Six Songs between 1884 and 1889 to original texts by six different German authors. Their theme is love and sorrow. About composing songs in general, Grieg wrote to Henry T. Finck: “Why is it, then, that exactly the songs have come to take such a dominating place in my production? Quite simply due to the fact that I once (to quote the words of Goethe) was inspired by genius. The genius was: love. I loved a young girl with a wonderful voice and an equally wonderful gift for interpretation. This girl became my wife and is [the] only true interpreter of my songs.” He wrote Four Songs from “Fiskerjenten” between 1870 and 1872 in collaboration with the Norwegian poet Bjørnstjerne Bjørnson, using text from his poem Fiskerjenten (“The Fisher Girl”).

The CD insert provides texts for the three sets of art songs in their original languages as well as full English translations. Listen to the songs with and without reading the lyrics. These are art songs from different times in Grieg’s life. He wrote the Four Songs in his late 20s, the Six Songs in his mid- 40s, and the Haugtussa songs in his early-to-mid-50s. Art songs are composed as duets between voice and an instrument, usually piano, with both parts of equal importance. Pay attention to melody, harmony and style and see how Grieg evolved as a composer of songs.

Soprano Marianne Hirsti was born in Oslo and studied at the Norwegian State Academy of Music and the Musikhochschule in Lübeck. Her singing career includes opera, oratorio and solo concerts, appearing in Germany and at the Bergen International Festival several times. She received the Grieg Award in 1987. Pianist Rudolf Jansen was born in the Netherlands and completed his music studies at the Amsterdam Music Conservatory. He is well known in the art of accompaniment and has appeared with many distinguished artists; he teaches master classes and has made several recordings.

Peer Gynt Suites 1 & 2 (Op. 23), Lyric Suite (Op. 54), Sigurd Jorsalfar (Op. 56) Gothenburg Symphony Orchestra: Neeme Järvi, conductor Copyright 1986/87 Polydor International GmbH

This CD contains three sets of orchestral pieces by Grieg—some of his best-known orchestral works. When Henrik Ibsen wrote Peer Gynt in 1867 as a dramatic poem it was intended to be “part satire, part knockabout comedy, [and] part philosophical meditation,” with no thought of theater. Some years later Ibsen arranged his work to be staged in the theater and he sought the collaboration of Edvard Grieg, only in his 30s but already a leading composer. In 1875 Grieg composed twenty-some pieces for theater orchestra as incidental music (Op. 23) for Ibsen’s five-act stage production of Peer Gynt, first performed in 1876. Years later, from this incidental music Grieg constructed two self-contained orchestral suites for performance independent of Ibsen’s play.

A suite is an ordered series of instrumental dances or movements in the same or related keys. The incidental music includes parts for chorus and solo voices, and a complete recording would follow the chronology of the play. The suites have no vocal parts, and the four pieces in each suite are not grouped relative to events in the play. This CD contains excerpts from the incidental music, grouped and presented as in the concert suites.

Throughout the years the combination of Ibsen and Grieg in Peer Gynt met with many opposing views. Tyrone Guthrie wrote: “Peer Gynt is Everyman...the adventures of Peer are partly real and partly symbolic...Ibsen never intended Peer Gynt for the theatre...it is meant to appeal to the eye and ear of imagination...Part of the box-office ‘draw’ of any production...has undoubtedly been Grieg’s music, [which] is very good music but very confusing to the play...If Grieg’s intention is to succeed Ibsen’s must fail.” (From Guthrie’s forward to Norman Ginsbury’s English version of the play staged at the Old Vic in London).

The CD insert includes information about the four movements in each of the two suites, and how each movement fits into the drama. From a purely musical perspective, note that the opening four-note motif in Morning is the four-note pattern of intervals in which the four sympathetic understrings of the Hardanger fiddle are often tuned. Also note that Harald Sæverud (who will be introduced in Part Three) composed incidental music (1947) for a revised production of Peer Gynt (1948).

Grieg’s Lyric Suite is a set of orchestral works arranged from his Lyric Pieces, Book 5, Op. 54 (1891) for piano solo.

The first piece in the suite was transcribed by Grieg himself, for strings and harp. The third, fourth, and fifth pieces in the suite were transcribed by Anton Seidl (a Hungarian-born conductor and Wagner proponent) for full orchestra but thoroughly revised by Grieg before publication. The second piece, Bell-Ringing, was transcribed by Seidl, not approved for publication by Grieg, and printed separately many years after Grieg’s death. According to Anthony Burton (CD insert): “[its] obscurity is a pity; it is an ingenious orchestral re-creation of perhaps Grieg’s most unconventional and prophetic composition, built almost entirely out of superimposed perfect fifth[s].”


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In 1872, Grieg composed incidental music (Op. 22) for Bjørnstjerne Bjørnson’s historical drama Sigurd Jorsalfar (Sigurd the Crusader). The plot for this three-act play was taken from the Heimskringla saga; the incidental music consisted of two songs for male soloist and chorus plus three orchestral inter-ludes. Twenty years later Grieg published its three principal orchestral pieces, revised and re-orchestrated, as a self-contained concert suite (Op. 56). The CD insert includes information about the three movements and how they fit into the drama.

Grieg: Piano Concerto, Op. 16; 6 Lyric Pieces, Op. 65 (Liszt Piano Concerto No 2) Leif Ove Andsnes, piano; Bergen Philharmonic Orchestra, Dmitri Kitayenko, conductor Copyright 1991 Virgin Classics Limited

Grieg is often thought of as a miniaturist, or composer of small-scale works. He was a renowned concert pianist; his only concerto is for piano and orchestra, Op. 16. He repeatedly revised both the solo and orchestral parts after its premier in 1869 until as late as 1907. This work has been immensely popular for decades, and continues to be so. A concerto is an extended composition for one [or more] principal instruments with orchestral accompaniment; it involves contrast and interplay in three or four movements between solo instrument[s] and the symphony orchestra. One unifying subject in Grieg’s creative life is exemplified by his lyric pieces for piano. He composed ten books of Lyriske Stykker between 1867 and 1901. The Six Lyric Pieces, Op. 65 (1896) on this recording are from the eighth set. The last piece, Wedding Day at Troldhaugen, is particularly well known. The two works by Grieg on this CD show his handling of both large-and small-scale composition; listen for the

stylistic similarities and differences. The third work on this CD is a piano concerto by Liszt. Franz Liszt (1811-1886) was a Hungarian composer and a phenomenal pianist. Compare and contrast Grieg’s and Liszt’s Romantic/nationalistic styles.

Leif Ove Andsnes (b. 1970) studied at the Bergen Conservatory. He has worked with several major orchestras and conductors, and has established a reputation as an outstanding soloist of international fame. His concert appearances include Norway, the USA (New York, Washington DC, Minneapolis, Los Angeles), Edinburgh, London, Berlin, Leipzig, and Paris.

The Bergen Philharmonic Orchestra was founded in 1765, and is one of the oldest orchestral institutions in the world with an unbroken tradition. Grieg often played as guest soloist. In addition to its major concert season in Bergen’s Grieg Hall, the orchestra tours nationally and internationally.



Submitting your workComplete the Pin Application Form included in this section, and submit all of the following items: Listening Response Forms (4) A Learning Activity Unit Evaluation Form




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Part 3: 20th and 21st century coMPosers and PoPular MusIc

Many musical leaders with Norwegian roots studied first in Norway, then went abroad (often to Denmark and Germany) to continue their studies. Most returned to Norway; others emigrated to new lands but carried with them their Norwegian heritage and musical gifts. Some retained in their music the strong influence of Norwegian folk traditions. Others chose to walk new paths and ford new streams, producing more avant garde or cosmopolitan music. The following musicians represent a few examples of composers, performers, and conductors fromNorway in the 20th century;

F. Melius Christiansen (1871-1955), composer, choral conductor Harald Sæverud (1897-1992), composer Kirsten Flagstad (1895-1962), soprano, “The Voice of the Century” Knut Nystedt (b. 1915), organist, composer, choral conductor

Part 3 ActivitiesActivity 1: Listen to six recordings of 20th and 21st Century composers or popular music. Feel free to use the Recommended Recordings described below (available from Sons of Norway). You can also visit the Sons of Norway YouTube channel (SonsofNorwayHQ) for a listening playlist or substitute your own alternatives.

Recommended RecoRdings Alf Prøysen—På Grammofon—Komplette Plateinnspillinger Copyright 1993 PolyGram As, Oslo

These recordings by the beloved Alf Prøysen—radio singer, songwriter and entertainer—span the period 1947 through 1970. Norwegians today, both young and not-so-young, learned many of their childhood songs from Alf Prøysen singing on his weekly radio program The Children’s Hour.

This is a set of five CDs. Each CD covers specific years in Prøysen’s musical and storytelling career. Listen to a minimum of ten songs from the five CDs, including Julekveldsvise (Christmas Eve Ballad) and Musevisa (Ballad of the Mice). The CD booklet – in Norwegian only - covers information about Prøysen, his texts, and the traditional melodies and composed songs on the five CD’s, especially the children’s songs.

The music and words for the two required Prøysen songs —Julekveldsvise and Musevisa - are included in two Norwegian/English songbooks published in America: Ekte Norsk Jul III (Traditional Norwegian Christ-mas Songs, Poems and Stories, Vol. 3) by Astrid Karlsen Scott, and Mike and Else’s Norwegian Songbook, compiled and edited by Mike and Else Sevig. Many of Prøysen’s children’s songs can be found in Astrid Holen’s Den Store Barne-Sangboka (The Big Children’s Songbook). The songs are in Norwegian only.

Harald Sæverud: Complete Piano Music, Volume 2 Einar Henning Smedbye, piano Copyright 1994 Victoria AS

Harald Sæverud is considered by some a natural modern successor to Grieg. Danish composer Carl Nielsen said, “Sæverud’s music is as Norwegian as Grieg’s, but in its own particular way.” Sæverud himself said, “I have never felt any urge to imitate the special features of our folk music, but it is the Spirit of the folk melodies that I have tried to imbibe...[in order to]...write [my] own kind of Norwegian music.” “[W]hen I use the designation, this simply means a piece of music, and not a Norwegian dance.” Sæverud composed a number of large orchestral works, a considerable amount of chamber music, and music

for theater, film, and television, but some say, like Grieg’s, his most characteristic writing is for the piano.


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Part 3:20th and

21st century composers

and popular music

Photo: Kirsten Flagstad as Desdemona in Otello, 1921

(Nasjonalbiblioteket / National Library of Norway)

This CD contains four piano suites called Slåtter og Stev fra Siljustøl, or “Dances and Tunes from Siljustøl” (Siljustøl was the name of the composer’s house). Each of his Siljustøl suites on this CD contains five short pieces. Suites Nos. 1, 2, and 3 were written between 1940 and 1944 during World War II. The fifth and tenth pieces on the CD—Siljustøl March, Op. 21/5, and Ballad of Revolt, Op. 22/5 – are two of Sæverud’s best-known works, and two of his many protest pieces against the Nazi occupation. The Ballad of Revolt, or Kjempeviseslåtten, is dedicated to those who fought in the Norwegian Resistance and has become a symbol of the Resistance movement.

The opening single-line melody of nine notes grows with rhythmic intensity and volume and then the theme is repeated with variations again and again. Suite No 4 (Op. 25) was written during the years 1950-1955 but not published till 1966. For some, Sæverud is as important to Norway as Sibelius to Finland. Consult the CD insert for more information about the composer and comments about individual pieces or look online to learn more. Einar Henning Smedbye studied in Norway, made his performance debut in 1968, and continued his piano studies in Vienna and Paris. He has been an active performer on Norway’s music scene as a soloist and has performed with several orchestras in Norway. He has performed abroad, and has made several recordings.

Arne Brattland—Arctic Suite Arne Brattland, classical guitar: Debra Adamson, classical guitar Copyright 1997 Arctic Records DA

This CD features a Norwegian classical guitarist performing works written between 1987 and 1997 plus his arrangements of four short Grieg pieces.

Arctic Suite is a four-movement composition written for Brattland based on folk tunes from several districts in northern Norway. Jiedna II and Minisonatine were both written for Brattland: jiedna is a Sami word meaning “sound” and the form of the piece can be likened to the Sami folk singing style called joik; a sonatina is a short sonata, usually relatively simple in its technical requirements. Vind Vidda for two guitars and Lullaby were written by Brattland himself. Vind Vidda, played with Jan H. Henriksen, is based on a joik “Reindeer in Motion”. Iskrystall was also written for Brattland. The CD title

applies not just to the first composition, but to the whole collection of pieces, most of which reflect aspects of northern Norway’s nature and culture, including folk tunes. Brattland ends with his own coolly elegant arrangements for two guitars of four Grieg piano pieces.

From the unknown originators of folk tunes to Lindeman to Grieg to Brattland, Norwegian music evolves. Arne Brattland (b. 1955) grew up in the district of Meløy in northern Norway. He played the guitar from early childhood and received his musical training at the Norwegian State Academy of Music (Oslo) and in London. He has toured Scandinavia, Great Britain, Canada, and the United States. He has also performed often on Norwegian national radio and television and has made several recordings.

Debra Adamson (b. 1969) received her musical education in London and also a Master’s Degree in Performance at the University of Reading. She has performed as a soloist and together with her husband Arne Brattland, at such prestigious events as the Cannington International Guitar Summer School, the Guitar Festival of Great Britain, and the International Oatridge Guitar Festival in Edinburgh.

The F. Melius Christiansen 125th Anniversary Concert Choirs of Augsburg, Concordia, Gustavus Adolphus, Luther, and St. Olaf Colleges Copyright 1996 The American Choral Directors Association of Minnesota

F. Melius Christiansen, known as F. Melius, was Norwegian by birth and immigrated to the United States in 1888 to join his brother in Wisconsin. He studied at Augsburg College, and as a young man conducted and performed in the Twin Cities of Minneapolis and St. Paul. In 1897, he returned to Europe to study at the Leipzig Conservatory, then in 1900 returned to Minneapolis and taught violin. In the summer of 1903, he became director of the fledgling music program at St. Olaf College in Northfield, Minnesota and subsequently conductor of the local St. John’s Lutheran Church Choir. In 1912 prior to a concert tour to Wisconsin, the choir changed its name to St. Olaf [Lutheran] Choir. F Melius led that choir for the next 30 years, during which time he established his reputation and his legacy as a world-renowned composer and conductor in choral music. He spread his strong Norwegian roots and gifted us with his indomitable musical spirit.

F. Melius saw his contribution to music not as one of genius or inspiration, but one of hard work. Through his students and successive waves of students, he still influences a cappella performances of choirs across the United States. For example, St. Olaf graduates Olaf C. Christiansen (son of F. Melius), Kenneth Jennings, and Anton Armstrong went on to become conductors of the St. Olaf Choir; and St. Olaf graduates Paul J. Christiansen (another son of F. Melius) and Rene Clausen went on to become conductors of the Concordia College Choir.


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The concert on this recording, “The Choral Concert of the Century,” was performed at St. Olaf College in November 1996, in honor of the 125th anniversary of F. Melius Christiansen’s birth. A wide range of other composers is showcased, including Paul J. Christiansen, Leland B. Sateren (20th century Norwegian-American composer and former conductor of Augsburg Choir), and Knut Nystedt (20th century Norwegian composer and for-mer conductor of the Norwegian Soloist Choir). In the last section of the recording, all choirs combined perform three signature works of F. Melius: Psalm 50 Movements II and III, O Bread of Life from Heaven, and Beautiful Savior. Note that four of the five colleges were founded by Norwegian immigrants (Gustavus by Swedish immigrants).

Hear- Det Norske Solistkor Grete Pedersen Helgerød, conductor Copyright 1999 GMF

The Norwegian Soloist Choir was founded in 1950 by Knut Nystedt, church organist, choral conductor, composer, and teacher. In its first years, many of the choir’s singers were drawn from the Norwegian Soloists’ Association. The virtuosity and artistry of its individual members were molded into a whole greater than simply the sum of its parts; the Norwegian Soloist Choir has become the most distinguished vocal ensemble in Norway. Its repertoire includes sacred and secular choral works from all periods, but is “devoted especially to larger, more demanding works” and to works from the 20th century. The choir performs both in Norway and abroad; in Norway it has presented premieres of more than 200 works, about one third of which were premieres of Norwegian compositions. In the choir's over 60-year history, it had just two directors: Knut Nystedt from 1950-1990, and Grete Pedersen Helgerød from 1990 to the present. During Nystedt’s

tenure, both conductor and choir developed and consolidated their artistries and style. They are characterized by “openness to diverse musical style, close cooperation with contemporary composers, and a unique Nordic choral sound”. Under Helgerød’s direction, the best of tradition is preserved yet enriched by fresh talent.

On this CD, Grete Pedersen Helgerød conducts the 41-voice choir in six modern vocal works. Geir Johnson, in his commentary for the CD, says “Lis-tening to a new recording by The Norwegian Soloists' Choir is like re-experiencing some of the happiest moments in recent Norwegian music. For nearly 30 years after the end of World War II, Det Norske Solistkor was one of the few ensembles which succeeded in creating an understanding of new music, besides gathering a long series of the country’s foremost singers in a vocal ensemble matching the best on the international scene. [There were] scarce material resources to fulfill what was and remained the great dream of composer, conductor, and organist Knut Nystedt: the foundation of a professional vocal ensemble.” Johnson also identifies the theme of the CD as “the road to renewal revealing itself through the ideals of the past”.

The first and last pieces, like bookends, are re-workings by modern composers of older works. The second piece, Mist and Rain and Rosebush, is based on Danish text from Hans Christian Andersen (1805-1875). The third piece, From the Sweet-Scented Streams of Eternity, is based on Bahá'í (19th cen-tury Persian) religious writings and is “undoubtedly among the most significant vocal works in recent Norwegian music”. The fourth, Peace on Earth, is based on text from the Swiss poet Conrad Ferdinand Meyer. Nystedt’s piece O Cross has Latin text from the sixth century, and is one of his major works for a cappella choir from the 1960s. The sixth work, I Am Lost to the World, is based on German text by the Romantic poet Friedrich Rückert.

Music evokes response on both emotional and intellectual levels. The emotional aspects of these modern works are more readily accessible, but the cerebral aspects are perhaps less so. Hearing unfamiliar music can often be a springboard for newfound meaningful listening.

Grete Pedersen Helgerød received her training as a church musician and choral conductor at the Norwegian State Academy of Music. She succeeded Knut Nystedt as conductor of the Norwegian Soloist Choir in 1990, and also continues to conduct the Oslo Chamber Choir which she founded in 1984. She has gained a reputation as one of Norway’s most versatile conductors—directing performances of contemporary music, folk music, major works for choir and orchestra and working with jazz musicians.

The Dale Warland Singers - Blue Wheat Copyright 1996 American Choral Catalog, Ltd

The Dale Warland Singers was a 40-voice professional choral ensemble founded in 1972 by Norwegian-American Dale Warland (b. 1932) and conducted by him until the group disbanded in 2004. The chorus was devoted to the commission-ing and performance of the 20th century music and performs both old and new classics. The Dale Warland Singers thrilled choral music enthusiasts not just at home in the Twin Cities of Minneapolis and St. Paul, but throughout North America and Europe. This CD presents 19 American folk songs; traditional songs, African-American spirituals, and songs by Ste-phen Foster (1826-1864). Warland chose arrangements that match the heart and beauty of each song.


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Dale Warland’s forefathers came from Tau, near Stavanger, Norway. He received his undergraduate degree in music from St. Olaf College, and he holds advanced degrees from the University of Minnesota and University of Southern California. Warland has devoted his professional life to attaining the highest artistic level in choral sing-ing. He has conducted the Swedish Radio Choir, Danish Radio Choir, Mormon Tabernacle Choir, and Israel’s Cameran Singers, and has lectured on American music at the Sibelius Academy in Helsinki, Finland. Through musicianship and attention to detail, he built one of the finest choral ensembles in the United States.



Submitting your workComplete the Pin Application Form included in this section, and submit all of the following items: Listening Response Forms (4) A Learning Activity Unit Evaluation Form




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This section describes the learning activities from which you may select three–one for each part of the music unit. All the activities are appropriate for all three levels of this unit. Only one learning activity needs to be completed per part, although more may be done if you wish. If the activity you choose directs you to write a short summary or report, use the back of the Pin Application Form or submit a separate document.

➊ Start (or participate in) a music listening group of three or more individuals gathered together to listen, discuss, and share Norwegian music. Choose recordings from material suggested in this unit or from the Sons of Norway CD catalog (available from Sons of Norway website www.sonsofnorway.com). Group members may also suggest recordings from their own collections. The group might meet once and listen to several recordings from their own collections, or it might meet regularly and listen to just one recording per meeting. Set a date and time and announce this to the lodge and in your newsletter. Include in your final report the printed newsletter announcement. Choose three of the recordings that have impressed you and complete Listening Report Forms for those.

➋ Start (or participate in) a music exchange group. Share one or more Norwegian music recordings with members of the group. Agree on how long each member borrows a recording, and how the recordings are passed from member to member. Announce this to the lodge and in your newsletter. Include in your final report the printed newsletter announcement. Choose three recordings that you have shared and complete Listening Report Forms for those.

➌ Keep a music listening journal. Check public radio and public broadcast schedules for listings of Norwegian music throughout the year, especially around May 17, in June around Midsummer’s Day, in October around Leif Erikson Day, and in December during Advent and at Christmas. Listeners living in areas more heavily populated by those of Scandinavian heritage might have more opportunities to hear and see these programs. Share this information with others in your lodge and community. Compile a list of ten compositions and composers and include it in the space provided on the Pin Application Form.

➍ Share your musical talent. For example, learn at least three Norwegian songs (in Norwegian or in English) and arrange with your program chairman and lodge musician to lead a Norwegian sing-a- long. Contact Sons of Norway Headquarters about the CD “Sing-a-long I”, which includes many delightful songs for group singing with accordion, piano, guitar and bass. This CD also includes piano accompaniments for all the national anthems sung at lodge meetings. If you are an instrumentalist, set up an informal recital of Norwegian music. Soloists, duos, trios or small groups can perform. Communication, preparation, practice, and teamwork are all essential. Announce your program to your lodge and in your newsletter. Write a short report about your experience and include it in the space provided on the Pin Application Form.

➎ Write a music review. Attend a concert of Norwegian and/or other Scandinavian music and share your listening experience. Concerts are often a part of Norwegian/Scandinavian festivals in the United States, Canada, Norway, or other Scandinavian countries. Closer to home, perhaps your local professional, college, or high school orchestra, chamber group, choir, or band performs Norwegian or other Scandinavian music. Draw your own conclusions about the performances. Use the Listening Response Form as a guide for your review, or write it your own way. If you are comfortable doing so, submit your review to the editor of your newsletter for possible publication or check with your program chairman about sharing your review with your lodge. Include your review in the space provided on the Pin Application Form.

➏ Interview music-makers in your lodge or community. Talk with any individuals who are or have been involved in music in any way (not just Norwegian or other Scandinavian music). Ask these individuals about their own experiences, musical studies, the joys and frustrations of music, and any related thoughts or questions you have. If you are or have been involved in music in any way (e.g. harmonica- player, piano lessons, choir or glee club, orchestra or band), ask yourself the same questions. Submit your interviews with your other materials and Pin Application Form.

Unit 14:learning activities

what’s a summaRy oR a RepoRt?The writing required by a learn-ing activity is used to explain what you’ve experienced or learned. Focus on what you learned and not on spelling or grammar; your report is not graded. And, if it makes writing easier, just imagine writing a letter to a friend! Please write a minimum of 2 or 3 paragraphs unless otherwise stated in the elective. However, if you wish to write more and would like to en-close additional photos, articles, etc., please feel free to do so.

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Photo: Nancy Bundt, Innovation Norway, visitnorway.com

➐ Arrange a musical presentation or mini-presentation. Request video and/or slide presentations about Norwegian music from your lodge or the Sons of Norway media lending library. Arrange a presentation date and time with your program chairman and prepare the material for your group. Announce your presentation to the lodge and in your newsletter. Write a short report about your experience and include it in the space provided on the Pin Application Form.

➑ Explore Sissel Kyrkjebø recordings. Several are available through the Sons of Norway media lending library – to find a complete list, just sign in to the “Members Login” section of www.sonsofnorway.com. Complete a Listening Response Form for at least one recording.

➒ Explore Christmas music from Norway and the Norwegian Communities in North America. Choose one recording and complete a Listening Report Form. Comment about when and how you first learned the Christmas songs familiar to you, about the songs new to you, and about any Christmas memories you wish to share. A number of songs can be found in the two Norwegian/English songbooks mentioned in Part Three, the Sons of Norway songbook or in any songbooks you have available. Some songs appear on more than one recording.

➓ Submit a copy of a work of art (drawing, sketch, painting, cartoon, etc.) you created as a result of listening to and/or performing Norwegian music.

Learn to play folk dance tunes for lodge dance activities. Report on tunes learned and activities participated in. Comment on the differences between playing for dancing vs. playing for listening. Create your own learning activity. Don’t see the learning activity that you wish to do? Make a suggestion by emailing [email protected], or call (800) 945-8851 and ask for Cultural Skills.

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sons of norway's cultural skills program unit music ... · he is an accomplished accordion soloist...

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