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An Introduction to Twentieth-‐Century Flute Music by Norwegian Composers

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An Introduction to Twentieth-‐Century Flute Music by Norwegian Composers An Introduction to Twentieth-Century Flute Music by Norwegian Composers: With Emphasis on Øistein Sommerfeldt and Publications by Norsk Musikforlag D.M.A. Document Presented in partial fulfillment of the requirements for the degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Rachel E. Haug, M.M., B.A. Graduate Program in Music The Ohio State University 2015 D.M.A. Document Committee: Katherine Borst Jones, advisor Dr. Charles Atkinson Dr. Russel Mikkelson Karen Pierson Copyright by Rachel E. Haug 2015 Abstract When we think of Norwegian composers, the name Edvard Grieg readily comes to mind, yet we can seldom name others, let alone more contemporary composers. This document explores the twentieth-century flute compositions of Norway, emphasizing Øistein Sommerfeldt, publications by Norsk Musikforlag, and several other Norwegian composers, including Johan Kvandal, Egil Hovland, Carl Gustav Sparre Olsen, and Finn Mortensen. A brief history of Norway with specific emphasis on the country’s musical development is included to gain understanding of the events and characteristics that define Norway’s musical voice. In addition to a chapter entirely focused on Norway’s musical history in the twentieth century, we will examine Norwegian folk music and its resulting impact on several twentieth- century composers. Through an examination of twentieth-century flute music by Norwegian composers, we discover works outside our normal scope, yielding a more comprehensive and globally encompassing standard flute repertoire library. ii To musicians everywhere who have the courage to forge their own paths and follow their dreams. iii Acknowledgements Many individuals deserve special recognition for their contributions to this project. First, thank you to my flute professor, Katherine Borst Jones, for your constant support, guidance, and encouragement; for the countless hours spent brainstorming and revising; and for allowing me to find and celebrate my voice as a performer. To my committee members (Charles Atkinson, Russel Mikkelson, and Karen Pierson): heartfelt thanks for taking time out of your busy schedules to serve on my committee. Working with each of you has profoundly enriched my musical life. Finally, I would like to thank my family (Myron, Sue, Kristen, Angela, and Keith) and friends for their support and encouragement throughout this process. Thank you for encouraging me to pursue this topic, for allowing me to share when I discovered new information, and for helping me to realize that this project was possible even when it seemed impossible. iv Vita 2006...............................................................Winona Senior High School—Winona, Minnesota 2010...............................................................B.A. in Music, Magna Cum Laude Luther College—Decorah, Iowa 2012...............................................................M.M. in Flute Performance The Ohio State University 2010—2012..................................................Graduate Administrative Associate The Ohio State University 2012—present..............................................Graduate Teaching Associate The Ohio State University Recordings Rest. Performed by The Ohio State University Wind Symphony; conducted by Dr. Russel C. Mikkelson. Naxos 8.572980, compact disc. Fields of Study Major Field: Music v Table of Contents Abstract……………………………………………………………………………………………………………….ii Dedication…………………………………………………………………………………………………………..iii Acknowledgments……………………………………………………………………………………………….iv Vita……………………………………………………………………………………………………………………...v List of Figures……………………………………………………………………………………………………viii Forward………………………………………………………………………………………………………………1 Chapter 1: Introduction…………………………………………………………………………………….….3 Chapter 2: Norway—Music before the Nineteenth Century……………………………….…10 The Fifteenth Century, Reformation, and Renaissance……………………17 The Baroque Era, Rococo Music, and the Early Classical Period………19 Chapter 3: The Nineteenth Century……………………………………………………………………..26 Waldemar Thrane…………………………………………………………………………28 Ole Bull………………………………………………………………………………………...29 Romanticism and the Golden Age…………………………………………………..31 Chapter 4: Folk Music…………………………………………………………………………………………35 Chapter 5: Norway’s Twentieth Century—A Time of Change………………………………..42 Chapter 6: Øistein Sommerfeldt………………………………………………………………………….48 Chapter 7: Other Noteworthy Twentieth-Century Norwegian Composers...…………..59 Johan Kvandal……………………………………………………………………………....59 Egil Hovland………………………………………………………………...……………….61 Carl Gustav Sparre Olsen……………………………………………………………….63 vi Finn Mortensen……………………………………………………………………...……..66 Epilogue…………………………………………………………………………………………………………….70 Future Presentations, Performances, and Recordings…………….……….71 Conclusions…………………………………………………………………………………..72 Bibliography………………………………………………………………………………………………………74 Discography……………………………………………………………………………………………………….77 Glossary of Terms………………………………………………………………………………………………78 Appendix A: Twentieth-Century Solo Flute Compositions by Norwegian Composers……………………………………………………………………………..……………….79 Appendix B: Twentieth-Century Flute and Keyboard Compositions by Norwegian Composers………………………………………………………………………………………………86 Appendix C: Twentieth-Century Compositions for Flute and Orchestra by Norwegian Composers…..………………………………………………………………………………………….93 Appendix D: Twentieth-Century Norwegian Flute Works by Decade……………......…..97 Appendix E: Composers of Twentieth-Century Norwegian Flute Music…...………….111 vii List of Figures Figure 1: Lurs…………………….……………………………………………………………………………......11 Figure 2: Seljefløyte……………………………………………………………………………………….……38 Figure 3: Natural Scale…………….…….……………………………………………………………………38 Figure 4: Tussefløyte………………..………………………………………………………………………….39 Figure 5: Recurring Motive…………………………………………………………………………………52 viii Forward An Introduction to Twentieth-Century Flute Music by Norwegian Composers: With Emphasis on Øistein Sommerfeldt and Publications by Norsk Musikforlag. Initially, this title seems quite specific, emphasizing only twentieth-century music, more precisely, that of Norwegian origin; however, this distinction allows us to focus on a specific composer and publisher, thus narrowing the scope of research. One of the primary driving forces behind this topic decision is my heritage. My genealogy comprises primarily Scandinavian roots, with greater than 75 percent of my bloodline directly connected to Norway. Additionally, my undergraduate training began at Luther College, an institution founded as a Norwegian-Lutheran seminary, which later transformed into its current state as a liberal arts college. Luther is located in the small town of Decorah, Iowa, which hosts an annual Nordic Fest, the largest festival of its kind in the United States; downtown Decorah is also home to the Vesterheim, a museum filled with Norwegian heirlooms. These experiences continually reinforced the connection to my heritage. Finally, the desire to learn about Norway stems largely from my grandparents, but particularly from my paternal grandfather. A second generation Norwegian-American, he continually demonstrated the importance of remembering our origins, whether through his 1 lessons in the art of making lefse or dressing up to celebrate Syttende Mai at his local Sons of Norway chapter. Together, these factors created a driving desire to learn about the musical culture in my ancestors’ home country. 2 Chapter 1: Introduction Purpose of Study When we think of Norwegian composers, the name Edvard Grieg readily comes to mind, as might Ole Bull. Very few of us, however, can name others, let alone more contemporary composers. Additionally, although we recognize twentieth-century composers of flute music, including Jolivet, Dutilleux, Varèse, and Copland, among others, this sample represents primarily French or American composers. The flutist’s twentieth-century repertoire invariably includes many French influences due to the impact of the Paris Conservatory and the teachers who immigrated to the United States, and other countries undoubtedly produced composers whose works mirror their French counterparts. Yet, with all this purported variety, few flutists stray far from the core standard repertoire. This document seeks to explore new options with specific emphasis on Norwegian compositions for flute, yielding a more complete repertoire catalog. Procedures My initial interest in heritage, which transformed into a growing desire to learn more about flute music from my ancestors’ homeland, led to a search for 3 recorded flute music from Norway. Initial searches yielded several recordings of Norwegian compositions performed by Norwegian flutists, in particular, Per Øien. Principal flutist in the Oslo Philharmonic Orchestra and later a professor at the Academy in Oslo, Øien has performed at four National Flute Association Conventions and presented performances of Norwegian music at the 1980, 1990, and 2002 conventions.1 In 1980, five years after it was written, Øien performed Øistein Sommerfeldt’s composition, Spring Tunes. We will explore this piece in great detail in Chapter 6. Øien’s recordings, particularly The Norwegian Flute, and presentations offer an initial starting point in the search, providing names of Norwegian composers alongside their flute works.2 A large portion of this document focuses on Norway and its history with emphasis on musical development. Folk music, folk instruments, and the resulting impact on composers and their works will also be critically examined. Additionally, studying specific composers’
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