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

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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

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

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.

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.

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

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.

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’ backgrounds will aid in understanding the impact of

Norwegian flute music. After examining a sampling of composers on Øien’s recording, The Norwegian Flute, it becomes plain that many Norwegian composers studied with Aaron Copland and his famous teacher, Nadia Boulanger. These

1. “Evening Concert—Norway.” Boston, MA: The National Flute Association Eighth Annual Convention, 1980), 14 and 35.

2. Per Øien, The Norwegian Flute, with the Norwegian Chamber Orchestra and Geir Henning Braaten (BIS: BIS-CD-103:1994), compact disc.

4 compositional influences will also be explored and could, again, lead to further research.

Ultimately, many different resources aid in determining the impact of

Norwegian flute music. History provides the main foundation toward understanding Norwegian cultural life, and the principles of folk music inform the style of many works. Through specific exploration of Øistein Sommerfeldt’s solo flute compositions and works by his contemporaries, we will gain an understanding of Norway’s musical impact within the flute community, providing a more complete flute music collection and thus a more globally encompassing twentieth-century flute repertoire collection.

Literature Review

Norwegian flute music, flute literature guides, music catalogs, professional organization databases, and Norwegian collegiate flute studio repertoire lists proved helpful in creating an inclusive list of twentieth-century works. Included in the literature guide searches were Frans Vester’s Flute Repertoire Catalogue, James

Pellerite’s A Handbook of Literature for the Flute, Bernard Pierreuse’s Flute

Literature, and Mary Rasmussen and Donald Mattran’s A Teacher’s Guide to the

Literature of Woodwind Instruments. Although Rasmussen and Mattran did not include any composers found on Øien’s CD, the other sources provided a large sampling of works by these composers. It is telling that Vester, Pellerite, and

Pierreuse all included Norwegian composers in their literature guides, for they all

5 clearly saw potential within these works, yet decades later, regular inclusion of these works in our studies does not exist. Therefore, this document will examine works by the composers listed in their guides in order to provide stronger arguments for their inclusion in our regularly performed repertoire, thus providing greater variety and a more globally aware perspective.

Similarly, I examined repertoire guides by Norwegian flute professors, including a list by Vidar Austvik, Associate Professor of Flute at the University of

Stavanger.3 Within his repertoire guide, he lists Norwegian flute compositions alongside the works we routinely study. Many compositions represent the same pieces found in the literature guides discussed above, once again providing sound reasoning for the inclusion of these Norwegian flute works within our standard repertoire. This repertoire guide can be found through a link on Austvik’s website, http://www.vidaraustvik.no/page45/page45.html.4 Studying the works listed by

Austvik not only yields a more complete flute repertoire, it also provides the foundation for further research. Many works within his repertoire list were written specifically for Austvik, and he gave the premiere performances of many others.

3. “Solo Concert with Vidar Austvik,” http://www.uis.no/fakulteter- institutter-sentre-og-museum/det-humanistiske-fakultet/institutt-for-musikk-og- dans/solokonsert-med-vidar-austvik-article81143-8838.html (accessed March 16, 2015).

4. “Vidar Austvik: flute.” http://www.vidaraustvik.no/page45/page45.html (accessed January 29, 2015).

6 Although they will not be addressed here, these connections will be explored in future projects.

The Nordic Archive Collection at Ohio State also produced many Norwegian works for flute, including those for solo instrument, flute and keyboard, and countless chamber works. Because the inclusion of all twentieth-century flute music by Norwegian composers encompasses such a broad field, focus within this document is limited to several Norwegian composers’ representative works, including Øistein Sommerfeldt, Egil Hovland, Johan Kvandal, Sparre Olsen, and Finn

Mortensen. Unfortunately, the Nordic Archive collection includes works by only one publisher, Norsk Musikforlag. While this significantly limits the scope,

Sommerfeldt’s works, as well as his contemporaries, were published solely with this publishing company, the oldest in Norway, thus providing an accurate representation of their works.5 We will examine compositions published by Norsk

Musikforlag, since these are readily available. Norwegian flute compositions published by other companies provide the foundation for future research.

Discussed in Herresthal and Pedersen’s “New Music of Norway,” the database found at www.mic.no represents a complete catalog that allows users to search by

5. “Norsk Musikforlag.” http://norskmusikforlag.no/ (accessed April 8, 2015).

7 composer, title, instrumentation, or any number of possibilities.6 Database searches yielded many compositions for solo flute, flute and piano/organ, and other combinations. Although many resulting works represent twenty-first century compositions that will not be included, they will be used for the foundation of future research. Most notably, this website provides detailed information about each work, including publisher, composition date, premiere performance dates, and the performers who gave the premiere, when available. This catalog encompasses works by all Norwegian publishers.

Another resource equally important for this study is the Flute World catalog.

Based in Farmington Hills, Michigan, Flute World boasts one of the largest collections of flute literature, music, and instruments in the United States. Many flutists routinely purchase music directly from Flute World’s online catalog

(www.fluteworld.com). Based on the composers discussed above, I conducted several searches. Although Flute World does supply compositions by Hovland,

Kvandal, Mortensen, and Olsen, the number of works by each composer is significantly fewer than lists observed in other sources. Once again, only publications by Norsk Musikforlag are contained within this catalog. Although

Vester, Pellerite, and Pierreuse all list his compositions, Øistein Sommerfeldt’s works were not found within this resource.

6. Harald Herresthal and Morten Eide Pedersen, “New Music of Norway,” in New Music of the Nordic Countries, ed. by John D. White, (Pendragon Press, 2002), 409.

8 While the present document thoroughly examines specific composers’ publications with Norsk Musikforlag, other Norwegian publishing companies exist.

Appendices of other compositions have been compiled and are included at the end of the document to provide a more comprehensive list of Norwegian repertoire, although they will not be discussed within the document itself. Through study of

Sommerfeldt’s unaccompanied flute works and several representative works by his contemporaries, we can gain insight into factors in Norwegian composition similar to Central European and American music, in addition to those aspects that set

Norwegian compositions apart from these mainstream works, thereby firmly establishing their place in our standard repertoire.

Chapter 2: Norway—Music before the Nineteenth Century

All cultures exhibit their own musical history, yet most reveal striking commonalities. Those we study in music history share similar stories riddled with primitive instruments, pictorial evidence, and ancient texts. In this regard,

Norway’s musical history is no different than these cultures. According to Nils

Grinde in his History of Norwegian Music, anthropologists estimate that humans have inhabited the region we identify as Norway for more than 10,000 years, yet we have very little information about the music that accompanies this large span of time.7 No musical instruments date from this early time, although examples of daily life, such as hunting and fishing equipment, have been found. Perhaps the strife and struggles of daily living prevented such leisure activities as music making from taking place, or possibly the instruments themselves deteriorated over long periods of time. Whatever the case, we find no examples of Norwegian musical life until the

Bronze Age.

According to Grinde, the Bronze Age typically defines the period of time from ca. 1500 B.C. to ca. 500 B.C. and, as its name indicates, signifies the use of bronze in

7. Nils Grinde, “From the Stone Age to the Iron Age” in A History of Norwegian Music, trans. William H. Halverson and Leland B. Sateren, (Lincoln: University of Nebraska Press, 1991), 1.

10 new technology.8 From this period, several important musical discoveries have emerged. Scientists discovered bronze lurs throughout Europe, and four were found

Figure 1: Lurs 9

in Norway. These instruments, pictured in Figure 1, most closely resemble today’s tenor trombone and were found in similar sheltered, boggy areas throughout the country, indicating their common use in worship.10 Still, these instruments represent the only main musical discoveries prior to the Christian era.

During the first century of the Christian era, musical instruments were undoubtedly being produced throughout Europe, but one significant change occurred—scholars began writing about musical life in ways that could be preserved. In their manuscripts, accounts of musical life among the Teutons abound, including frequent references to singing songs accompanied by harps.11

Most descriptions, however, are not flattering to the performers, often painting a

8. Ibid., 2.

9. “Lur.” abel.hive.no (accessed March 8, 2015).

10. Grinde, 3.

11. Ibid., 4.

11 negative image of the sounds produced. These accounts, constructed by Romans, reflect only their own musical training, and the music to which they were accustomed was undoubtedly very different than the style encountered in Norway.

Despite this negative image, other accounts regarded Scandinavian music in more positive terms. In the English epic of Beowulf, which dates from the eighth century

A.D., several lines within the poem reference Scandinavian life, particularly music- making and the harp, including “…the harp was plucked, good verses chanted,” unmistakably imbuing a positive light on music.12 Although not written by

Norwegians, this marks a distinct turn toward music as a revered art form. Further examples within the poem indicate the importance of music to celebrate marriage and to lament passing of great warriors, both extremely important events. Similarly, passages in The Older Edda, a Norse collection of tales written around 1000 A.D., contain descriptions of the lur and harp.13 Quite clearly, music held a central place in Norse culture even in its early developmental stages.

The next great musical changes in Norwegian history occurred during the

Viking period. Spanning from 800 A.D. to 1000 A.D., this was a time of significant cultural development.14 Most of us have heard stories of Vikings, barbarian

12. Ibid., 5.

13. Kristian Lange, Norwegian Music: A Survey (Oslo: Johan Grundt Tanum Forlag, 1971) 11.

14. Grinde, “The Viking Expeditions and the High Middle Ages,” 6.

12 conquerors and explorers who sailed to discover new lands and riches, yet these explorers were also innovators, creating sailing vessels that allowed them to travel great distances and experience new cultures. By 1000 A.D., they had sailed to

Iceland and even North America, discovering the New World centuries before

Christopher Columbus. Around 900 A.D., still during the Viking rule, Norway also united for the first time under a single ruler, Harald Fairhair.15 Although viewed as a barbaric society, the Vikings proved to be quite intelligent and innovative.

In their writings, we find many discussions of music and musicians. Written with great respect, these passages emphasize music’s societal import once more. By the end of the Viking period, Christianity had overtaken the old Norse religion, but it took many years for a permanent Christian organization to develop in Norway.16 In the new Christian places of worship, Viking musical influences remained, including frequent illustrations of the harp, often in prominent places, including carvings in stave churches and in the Nidaros Cathedral in Trondheim.17 Harps from this period have been discovered, but more common instruments were horns. Most likely, these were used to give signals and would not have been appropriate instruments indoors. Lurs from this time have also been discovered and reflect the daily routine of Viking life—those who did not explore were likely herders and needed an easy

15. Ibid., 6.

16. Ibid., 6-7.

17. Ibid., 8.

13 way to signal others with whom they worked.18 Although these daily activities reflect positively on musical life, some accounts did not. Most often, performers were regarded with disdain, and records continually portray negative images of these “players.”19 This is not to say, however, that the Norwegian people did not respect music. On the contrary, as seen in church carvings, music was highly regarded as an activity for the educated individual. The subject of contention in the aforementioned account is that these performers were not natives of Norway. As in continental Europe, musicians traveled from place to place, trading their music for shelter or meals. They did not play in the same manner as Norwegians, and their performances were not always of the highest caliber, resulting in less than favorable descriptions. When addressing their own music making, Norwegian accounts become much more positive. Numerous documents discuss the use of fiddles and pipes, and a bone flute from the fourteenth century with five finger holes was discovered near Bergen.20 Because the fiddle and flute could not project as easily or clearly as a horn, these instruments plainly depict the emergence of music as a revered activity to enhance cultural life, not as a necessity to everyday survival.

Musical development during this period was closely linked to the church.

Folk music undoubtedly existed but was not notated until the nineteenth century.

18. Ibid., 11.

19. Ibid., 12.

20. Ibid., 15.

14 These simple melodies remain relatively unchanged from one record to the next, and they likely share roots in Gregorian chants of the Roman Catholic Church, a power that continued to influence music for centuries to come.21 While the importance of music began to increase, many cultural developments occurred. Like the rest of Europe, however, developments abruptly halted with the onslaught of the

Black Death in 1349. No further accounts of musical life in Norway appear until almost a century after the Plague, and church music survives as the only evidence of fifteenth century music in Norway.22 Due in large part to the harsh climate conditions, the Plague affected Norway more dramatically than elsewhere in

Europe, where music continued to develop. In contrast, Norway’s people struggled to simply survive, and no musical records from this time are preserved.

Despite the fight for survival, one form of music did survive from the fifteenth century—music of the church. Christianity was officially established in

Norway when Olaf Haraldsson, better known as St. Olaf, was defeated and killed in battle in 1030.23 At that time, there was no formal opposition to the Christian

Church. Musically speaking, Gregorian chant was already an established form, but sequence melodies developed independently. According to Grinde, these sequences often included specific references to local and regional saints, making the music

21. Ibid., 16.

22. Ibid., 16.

23. Grinde, “The Music of the Roman Catholic Church,” 17.

15 unique to a particular region.24 In Norway, this phenomenon was seen in “St. Olaf

Music” used during the St. Olaf celebration in Trondheim and similar feast days for other saints.

Although these chants give insight to musical culture of the Catholic Church in Norway, other aspects furthered musical development. By the thirteenth century, cathedral schools were established in Nidaros (now Trondheim), Bergen, Stavanger, and Oslo.25 As schools directly linked with the church, studies included musical training for priesthood and singing in the cathedral choir. These schools, however, were not able to provide the highest levels of training, and students traveled abroad to supplement what they had learned in cathedral school. In the thirteenth century, approximately 20 Norwegians studied in Paris, learning polyphonic music at Notre

Dame.26 The fourteenth and fifteenth centuries saw a dramatic decrease in

Norwegian enrollment in Paris, however, with the 1419 establishment of the university in Rostock, Germany. In the 1470s, the University of Copenhagen replaced this university as the primary music institution for Norwegians.27 This rapid influx of schooling abroad demonstrates the desire of Norwegians to produce

24. Ibid., 17.

25. Ibid., 26.

26. Ibid., 27.

27. Ibid., 27.

16 a more sophisticated musical language, but due to myriad other factors, Norway did not establish its own distinct style of composition until the mid-nineteenth century.

The Fifteenth Century, Reformation, and Renaissance

The fifteenth century was a very weak time for the Norwegian church. Still reeling from the effects of the Plague, which had taken the lives of most clergy, the church found itself in a period of revolution.28 In fact, Norway as a whole was tasked with rebuilding, but survival became increasingly more difficult. In 1536, after struggling to retain independence as its own kingdom, Norway became a

Danish province.29 Although this union caused some tension, it dramatically increased Norway’s cultural life. Denmark possessed strong ties with continental

Europe, and influences from art and music soon found their way into Norway’s culture.

In the midst of this struggle, another challenge was about to befall the church—the Lutheran Reformation. At the same time that Norway became a Danish province, the full effects of Martin Luther’s Reformation were beginning to take hold in Germany and continental Europe. Bitter battles ensued between the Catholic

Church and Luther and his followers. In England, this rift led to an ever-shifting battle between Lutheranism and Catholicism, one that, among other factors,

28. Ibid., 28.

29. Ibid., 28.

17 eventually resulted in the formation of the Anglican Church. Despite these lasting impacts in other parts of Europe, Norway was left relatively unscathed by the

Reformation, and the Catholic Church continued in Norway until the latter half of the sixteenth century. When the clergy became too old to continue in their positions, they were replaced, now with their protestant counterparts.30 In contrast to the rest of Europe, Norway experienced a smooth transition from Catholicism to

Lutheranism.

Lutheranism was adopted almost immediately in Norway. The churches rapidly implemented hymns and hymnals, and hymn tunes quickly became the basis for compositions, in particular, religious folk music.31 In 1569, the first Danish-

Norwegian hymnal was published, focusing primarily on the hymn-based service.

Interestingly, many of the hymns in this collection contain syncopated rhythms, considered quite unusual today. This peculiarity may be due, in part, to the influence of folk music; however, greater exploration is needed to definitively arrive at this conclusion.

Further changes developed in the Norwegian-Lutheran church in the seventeenth century. Rather than the former model wherein the choir led the congregation, emphasis now shifted to the organ as leader. Similarly, Latin schools

30. Grinde, “Late Renaissance and Baroque Music,” 30.

31. Ibid., 31.

18 began replacing the Catholic schools, training clergy and musicians.32 Once again, influences from central Europe made an impact on training. Although program records and music from Norwegian Latin schools were destroyed in fires, we can safely assume that Danish records reflect those of Norway because of their close association. In Denmark, and likely Norway, students studied the compositions of

Josquin de Prez and Clemens non Papa, in addition to works by Michael Praetorius and Johannes Eccard.33 Because he served the Danish court from 1633-35 and again from 1642-45, it is safe to assume that the works of Heinrich Schütz were also performed during this time.34 In this way, Norway made efforts to catch up to musical developments occurring throughout the rest of the continent. These composers’ works undoubtedly influenced everyday musical lessons and resulting compositions, but, despite their influences, other musicians would have greater impact on compositional output in Norway.

The Baroque Era, Rococo Music, and the Early Classical Period

As we have already seen, many factors influenced Norway’s musical development leading to the Baroque era, including folk ballads and ancient instruments, cathedral schools, the Reformation, and Norway’s political union to

32. Ibid., 36-37.

33. Ibid., 41-42.

34. Ibid., 42.

19 Denmark. The Baroque Era marked a new musical movement in Norway, placing emphasis on town musicians and organists. In continental Europe, town musicians were established as early as the Middle Ages. In contrast, however, Denmark did not hire its first town musician until the sixteenth century, and Norwegian records do not show musicians with this title until the seventeenth century. 35 Regarded as the main shapers of Baroque music in Norway, town musicians were responsible for providing instrumental music during private and public festivals, most often in the form of dance music, and to provide instrumental music for church services on major religious holidays.36 Town musicians alone, with the aid of their assistants and apprentices, possessed the right to perform. In other words, the town musician and his assistants provided all public and private music for the community and, quite often, the region.

Although the trend of town musicians can be seen throughout Europe, one particular aspect of musical life is not seen in Norway—that of the court. As a province of Denmark, Norway had no royal court of its own and, therefore, little need of producing any music for court. Dano-Norwegian kings occasionally visited

Norway, but, although music was required for these occasions, their visits were

35. Ibid., 42.

36. Ibid., 42.

20 infrequent and of little significance.37 Throughout the Baroque period, the primary outpouring of music in Norway continued to come from the church.

In the early eighteenth century, some public concerts were held in the church. Although they did not immediately gain popularity, they allowed church musical communities to flourish. An account from the mid-eighteenth century lists the use of organ, trumpets, trombones, violins, drums, flutes, and zithers in the church.38 This extensive list illustrates the growing musical community in Norway.

In Bergen, this trend made a greater impact. Late in the eighteenth century, rector

Sören Linthrup began corresponding with musicians in Lübeck, where Buxtehude was one of the most popular composers.39 The impact of Buxtehude’s works is seen in the music performed while Linthrup held his position with the Bergen Cathedral.

Still, other composers emerged during this same period. In fact, the late

Baroque era offers the first list of known names and works from Norway. A formally trained musician, Georg von Bertuch (1688-1743) composed 24 sonatas in different keys, modeled after J.S. Bach. This comes as little surprise, however, because Bertuch had contact with Bach and became well trained in the Baroque style thanks to their interactions.40 Even more popular than Bertuch, Johan Henrik

37. Ibid., 43.

38. Ibid., 43.

39. Ibid., 43.

40. Ibid., 47.

21 Freithoff (1713-67) represents the most well known Norwegian composer of the time.41 Like the tradition discussed earlier, he began his studies in Norway but later studied abroad. Unlike his predecessors who had studied in France, Germany, and

Copenhagen, he traveled to Italy and learned many characteristic styles of the region, including the pervading Rococo style. The implications of his studies are seen clearly in his Trio Sonata for Two Flutes and Continuo, two trio sonatas for two violins and continuo, a violin sonata, and a flute sonata.42 In accordance with this trend, other European styles impacted Norwegian Baroque compositions. Although some composers traveled abroad to learn these styles, composers from other countries took up residency in Norway, including Johann Daniel Berlin, a German composer.43 His distinctly German-Baroque compositional style impacted the works of his fellow Norwegian composers.

The latter half of the eighteenth century in Norway represents a period of growth, not just musically. A province recovering from its economic insecurity one century earlier, a more financially and culturally secure Norway began seeking greater equality with Denmark.44 As a direct result, an intense surge of nationalism

41. Ibid., 53.

42. Ibid., 55.

43. Ibid., 56.

44. Grinde, “Rococo Music and Music Societies”, 58.

22 overtook Norway. In other words, the Norwegian people sought to create a distinctly Norwegian identity, free of Danish influences. Although they did not sever ties with the university in Copenhagen, music societies and orchestras began to form in Norway as early as 1800.45 Because Norway was now economically stable, its citizens were able to devote time to music, although town musicians were still largely in charge of all public performances. This cultural trend resulted in a large number of amateur musicians, since all educated people were expected to know how to sing or play an instrument. Considered amateur musicians only to differentiate from the professionals (e.g. the town musicians), these performers were often of the highest caliber. When orchestras began giving public concerts in the early nineteenth century, the town musicians and their assistants were still in charge of all music productions. The growing need for greater variety of instrumentation and larger sections during the Rococo and Classical periods, however, forced these musicians to hire amateurs to provide a full complement of players.46 This shift toward including both professional and amateur musicians proves monumental in musical development in Norway.

Choral music also encountered significant changes during this time. As previously discussed, church music was one of the few musical forms that continued to develop despite economic upheaval in Norway. During the last part of the

45. Ibid., 59.

46. Ibid., 60.

23 eighteenth century, however, these traditions began to change. As part of the

Enlightenment or Age of Reason, a distinctive shift toward the “reasonable, useful, and practical” took place.47 Rather than retaining the characteristic syncopations in hymns from the sixteenth century, rhythmic and metric irregularities were eradicated in favor of straight rhythms, which were easier for congregations to sing together. With the later push toward nationalism, this change would be examined and reworked many times.

Although these alterations are often perceived as negative effects of the

Enlightenment, other changes proved much more positive. Near the middle and end of the eighteenth century, music societies began to form throughout Norway, the first in Bergen in 1765. Called the Harmonic Society, the predecessor to today’s

Bergen Philharmonic Orchestra, the society’s goal was to “cultivate music through concerts and other means.”48 Despite this noble goal, the society gave concerts only for society members; it would take many years before these concerts opened to the public. In addition to Bergen, Trondheim and Oslo also formed music societies, both of which gave regular concerts. The first push toward nationalism at the end of the eighteenth century is seen in Georg Joseph Vogler’s compositions. Part of the society in Oslo, he composed a work for orchestra using the folk tune, “The Lovely

47. Ibid., 63.

48. Ibid., 65.

24 Sunday Evening.”49 This marks an especially important moment in Norwegian musical history because it represents quite possibly the first appearance of a folk tune in a larger work. Prior to this time, folk tunes had served as the foundation for religious folk music but had never permeated classical music. As we will see, the impact of folk music in traditional compositional forms continues well into the twentieth century.

Near the beginning of the nineteenth century, the tradition of town musicians began to decline, due in part to the rise of the symphony orchestra and the undertrained musicians employed as town musicians. The gradual shift from professional musician to amateur as the dominating force in these ensembles had a profound impact on the development of music. Indeed, this shift, combined with the growing propensity toward nationalism, set the tone for the next century of musical development.

49. Ibid., 66.

Chapter 3: The Nineteenth Century

As we have witnessed, many dramatic changes impacted Norway preceding the nineteenth century. Politically, Norway became a Danish province, forcing

Norway to give up much of its independence. Norwegians increasingly strove to break this connection and began laying the groundwork for the creation of a musical language entirely their own. The nineteenth century, however, marked the beginning of a period of intense struggle for Norway. At the behest of Denmark,

Norway entered into the war between England and France as an ally of the French.

Prior to the war, Norway relied heavily on its ties with England for trading and shipping; France’s loss in the war, therefore, proved debilitating.50 British blockades made trading with all countries, but particularly with Denmark, impossible, and famine eventually struck Norway. These factors inevitably led to a greater desire for Norwegian independence.

From February to November of 1814, Norway found its freedom. Although still under the rule of a Danish king, Norway became an independent kingdom,

50. Grinde, “A Period of Cultural Growth,” 112.

26 adopting a new constitution on May 17, 1813.51 Today, this is still celebrated as

Norway’s most significant national holiday, known best as Syttende Mai (literally,

May seventeenth). Celebrations did not last long, however, for Norway once again found itself in the midst of political upheaval when it was seceded to Sweden late in

1814. Although Norway could not retain its political independence, the most important points from its constitution remained intact. The union with Sweden, however, would remain for the next ninety years, lasting until the early twentieth century.

Due to its sudden forced union with Sweden, Norway found itself struggling to retain aspects of daily life defined as distinctly Norwegian. As a direct result, a strong nationalistic movement emerged.52 In continental Europe, this same musical period aligned with the transition from Classicism to Romanticism. In Norway, however, Romanticism did not emerge as a strong musical force until the 1840s; in contrast, Norwegian orchestras continued to perform the works of Haydn, Mozart, and Beethoven. Orchestras depended heavily on amateur musicians to fill out sections, and the town musician remained the orchestra leader. In the first half of the nineteenth century, however, this trend began to change. In Oslo, then

Christiana, the first public theater opened in 1828. Although the theater performed mainly Classical works, including Mozart operas, a shift began to take place. Due in

51. Ibid., 113.

52. Ibid., 113.

27 part to the mediocre quality of musicians performing in these groups, the theater began hiring professionals from outside the area, including those trained in

Germany.53 As we will discuss later, the violin virtuoso and composer Ole Bull began his career as the leader of the Christiana Public Theater; however, Norway’s most important composer from this period must first be explored.

Waldemar Thrane

Like many fellow composers during this time, Waldemar Thrane (1790-

1828) studied music theory and composition abroad. Gaining valuable insight from his studies with Anton Reicha, who was a good friend of Beethoven, Thrane’s style clearly exhibits qualities of Viennese classicism.54 Although his earlier works represent a traditional style, he soon began adding his own voice to his compositions, fusing classical forms with traditional folk songs. His orchestral piece,

The Mountain Escapade, which uses the folk tune “Aagot’s Mountain Song,” represents the earliest combination of classical and folk forms in Norwegian music.55 In other parts of Norway, as well, Thrane’s compatriots began using the same technique, using folk songs in chamber music and other serious works.

53. Ibid., 117.

54. Ibid., 127.

55. Ibid., 131.

28 Although the idea of using folk tunes in large compositions did not immediately catch on, the gradual inclusion of these tunes propelled the Norwegian nationalistic movement forward. Like Oslo, where a new theater opened, Bergen and Trondheim experienced a revitalization of music.56 Desiring to create a truly

Norwegian musical identity, music societies that had been forgotten at the turn of the nineteenth century found new life. These groups no longer comprised only amateurs; rather, their leaders were formally trained musicians with clear ideas of how to redefine the musical identity of Norway.

Ole Bull

Chief among these leaders was Ole Bull (1810-1880). To many, this name may be familiar, for we first performed his works in early stages of our musical training. One of his most famous songs, “Sæterjentens Søndag (The Shepherd Girl’s

Sunday),” is found in the solo section of the Rubank Advanced Method book for flute.

Originally for violin, this solo has also been arranged as a flute section feature with band accompaniment. The simple tune represents one of two great melodies for which Bull is remembered, the other called “In Solitary Moments.”57 Although he composed other works, mainly for violin, he wrote those pieces with the intention of

56. Ibid,, 131.

57. Ibid., 134.

29 performing them himself, and we are left with only sketches of what could have been realized in his performances.58

A virtuoso violinist often compared to Paganini, Bull is known best for his ability to write and shape simple melodies, many of which are based on folk tunes heard as a child.59 Bull’s family often vacationed in farmlands near Bergen, and it is during these holidays that he first became acquainted with Norwegian peasant dances (slåtter) and herding tunes (seter).60 Once again, the direct impact of these forms is exemplified through “Sæterjentens Søndag,” which even uses a variation of seter in its title. As we will explore in the following chapter, this work clearly draws from the musical language of traditional seter, using a simple tune and improvisatory character to carry the work. Indeed, even the choice of violin, and later the flute, closely reflects the tradition of this folk melody. Although he was not the first to use such folk tunes, the distinctly Norwegian influences employed by Bull profoundly impacted the musical language of other composers to follow.

Building on the style established by Ole Bull, Norway experienced a period of musical growth in the 1840s. During this time, a strong wave of national

Romanticism emerged, driven by the intense desire to create an independent

Norway. This period is also marked by significant population growth, the first such

58. Ibid., 141.

59. Lange, 19.

60. Grinde, 134.

30 influx since after the Plague.61 As a result, many Norwegians immigrated to the

United States, settling in the American Midwest and establishing Norwegian colleges and universities. Later in the nineteenth century, Norwegian immigrants to America also brought a new standard of singing, in particular a cappella singing, a style that continues to hold a central place in these colleges’ choirs.62

Romanticism and the Golden Age

Although many Norwegians emigrated during this time, more remained in their country of birth. Between 1840 and 1860, an interest in folk culture emerged, focused on collecting folk tales and folk melodies.63 Additionally, the founding of the

Leipzig Conservatory by Felix Mendelssohn and Robert Schumann allowed

Norwegian composers to study the Romantic style, while other European composers traveled to Norway. This exchange allowed greater exploration and growth of Norway’s musical culture, prompting the founding of theaters and schools.

During the 1840s, a renewed interest in folk culture emerged in Norway.

Magnus Brostrup Landstad, Peter Christen Asbjörnson, and Jörgen Moe began collecting folk tales, ballads, and legends while Ludvig Mathias Lindeman focused on

61. Grinde, “The Emergence of National Romanticism,” 144.

62. Ibid., 144.

63. Ibid., 145.

31 collecting folk melodies.64 L.M. Lindeman, a church organist who founded Oslo’s organ school, later the Oslo Conservatory, produced handwritten transcriptions of folk tunes that painstakingly showed exact rhythms and pitches in melodies; however, the published collections of these tunes, which were designed for practical use, removed all rhythmic and tonal irregularities.65 Composers in the twentieth century eventually returned to Lindeman’s manuscripts, but during the nineteenth century, emphasis centered primarily on simply collecting melodies. In spite of this decision, the marriage of the Romantic and nationalistic styles rapidly increased

Norway’s musical development, and the country soon found itself on par with the rest of Europe.

Between 1860 and 1890, Norway experienced many political struggles. In addition to its continued fight for independence from Sweden, Norway’s government was in a period of flux, ceding more power to the government and less to the king.66 Within the community, emphasis on the importance of literature and music flourished, producing many great works and outstanding composers. It is during this period, often referred to as the Golden Age, that Norway produced its most iconic artists, authors, and composers.

64. Ibid., 145.

65. Ibid., 155.

66. Grinde, “The Golden Age,” 181.

32 By this time, Romanticism was firmly established as the prevailing style in

Norway. Although a clash between classical Romanticism, exemplified in the works of Brahms, and a “new German” style, closely associated with Wagner and Liszt, impacted continental Europe, most Norwegian composers had studied at Leipzig and therefore, remained firmly rooted in the classical style.67 Although Romantic nationalism remained the style of choice for some time, new efforts began to develop a distinctly Norwegian form of music, free of the ties to Germany. In an attempt to carry out this change, several symphonists composed works that used folk tunes as their basis. Perhaps the most famous composer to achieve a truly nationalistic Romantic style was Edvard Grieg.

A friend of Ole Bull, Edvard Grieg (1843-1907) began his musical training at the Leipzig Conservatory. By 1865, Grieg’s compositional style was already profoundly influenced by Norwegian folk music, as demonstrated in his piano works.68 Gradually, he found new ways in which to combine the musical line and these tunes, shifting from the traditional Romantic style toward an emphasis on expression. Between 1874 and 1875, Grieg composed the incidental music to

Henrik Ibsen’s play, Peer Gynt.69 Grieg himself transcribed the music into two orchestral suites, opus 46 and 55, and these suites represent his best-known works.

67. Ibid., 181.

68. Ibid., 192.

69. Ibid., 194.

33 His fascination toward Norwegian folklore and folk instruments continued to develop, and Grieg began incorporating these influences in his music70. Drawing largely on the Norwegian folk song tradition, he composed many art songs and other symphonic works, evident in his Norwegian Peasant Dances, op. 72.71 Using

Norwegian themes and simple melodies, Grieg created works with lasting impact that would prove monumental to twentieth-century Norwegian music.

70. Lange, 29.

71. Grinde, 201.

Chapter 4: Folk Music

As we have seen, the nineteenth century represents a time of struggle for

Norway—not merely a struggle for independence from Sweden but also an intense battle to create a distinctly Norwegian style of music. Composers achieved this independence thanks to Norway’s rich culture of folk music and the composers who sought to preserve it.

When we mention folk music, it is safe to assume that these tunes were composed anonymously centuries earlier. The melodies are usually preserved through an oral tradition of retelling. Unfortunately, a system of notation did not develop until centuries after these folk tunes had first been sung, and it is likely that, when these tunes were transcribed, the melodies lost some of their character in order to conform to stylistic norms, as witnessed earlier with rhythmic and tonal changes in music of the church.72 It seems quite likely, however, that portions of the tunes still in existence derive from an earlier time. When we discover the instruments for which the tunes were composed, it becomes apparent that these

72. Grinde, “Folk Music,” 73.

35 tunes have roots stretching back to at least the thirteenth century, when documentation mentions the specific use of these instruments.73

Folk music is most frequently associated with farm life, especially because these tunes represent the voice of the common people and not the church. The best examples of these tunes are found in peasant dance songs, or slåtter, and tunes for the Hardanger fiddle, an instrument created almost exclusively for use in these folk tunes. In his chapter on folk tunes, Grinde explains that another popular melodic form exists in folk music, namely seter melodies, or songs used during herding. His explanation includes a list of the most popular instruments associated with these melodies, including the lur, billy goat’s horn, and the flute. Most importantly, he emphasizes the importance of these songs as improvisations on “selected musical motives” free of musical form.74 As we will discover, the combination of improvisatory melodies in a pastoral setting perfectly sets the stage for future compositions for the flute.

Although many folk songs were not notated until the nineteenth and twentieth centuries and it is, therefore, difficult to determine what is original to

Norway’s folk tradition, fairly accurate records exist that name specific instruments.

Based on these written records and instruments that have been discovered, it is safe to assume that the most common instruments used in early folk music were the lur,

73. Ibid., 74.

74. Ibid., 74.

36 billy goat’s horn, and flutes, including the willow flute (seljefløyte) and the fairy flute or wooden flute (tussefløyte), all of which were used in herding.75 Other instruments, including the Hardanger fiddle and violin, played a greater role in folk music during the nineteenth century, but we will limit our exploration to herding horns and flutes, the instruments that most emphatically influenced twentieth- century flute compositions.

The lur and the billy goat’s horn were both herding instruments used to give signals across great distances. It seems strange, therefore, that the flute should be considered an important herding instrument, since its very nature prevents it from projecting over long distances. Grinde, however, clarifies this strange paradox, indicating that herders used these instruments for their own entertainment.76

When watching over a flock, shepherds needed to find some activity to keep them alert and awake, and likely because it was small, easily transported, and quiet enough not to disturb the animals, the flute became the clear choice to pass time.

The willow flute, or seljefløyte is constructed of willow bark and measures between 15 and 31 inches in length.77 Illustrated in Figure 2, it is held transversely

75. Ibid., 87.

76. Ibid., 96-97.

77. Kathleen Joyce-Grendahl. “The Norwegian Seljefløyte,” Flute Focus, June 4, 2010, http://www.flutefocus.com/303-norwegian-seljefloyte.html (accessed November 14, 2013).

Figure 2: Seljefløyte78

but has no finger holes. Relying heavily on the overtone series, this instrument’s pitch can only be altered either by varying wind speed (over-blowing) or by using the index finger to completely or partially close the end. The tones produced are those found in the overtone series, with certain pitches lying slightly above or below the pitch center. This scale is usually referred to as the natural scale.79

Figure 3: Natural Scale

Because they are constructed from willow bark, these flutes can only be made during one time of the year—spring. During this season, the sap rises high enough that the bark can be removed from the tree in large sections, free of damage.80 Since

78. “Seljefløyte,” on The Recorder Player’s Page, www.saers.com (accessed March 8, 2015).

79. Grinde, 89.

80. Ibid., 88.

38 bark deteriorates, however, it is difficult to determine how long the instrument has been in existence. On average, most willow flutes could be played only one or two weeks. Despite this setback, we can definitively assume that willow flutes were used throughout Norway, regardless of region, because of the numerous works written for these instruments and the documentation discussing their use. The instrument is still manufactured today but usually consists of a plastic tube encased in willow bark, allowing for greater flexibility of pitch and overall durability of the instrument.

In contrast to the willow flute, which is held like the modern flute, the wooden flute, or fairy flute, most closely resembles the recorder. Pictured in Figure

Figure 4: Tussefløyte81

4, it has seven finger holes and a thumbhole and can trace its origins to the medieval bone flute.82 When the willow flute was out of season, shepherds most likely used

81. “Tussefløyte,” ttmusikk.no (accessed March 8, 2015).

82. Grinde, 89.

39 this instrument to pass the time. Its strong connection to folk music, specifically seter and slåtter, influenced many contemporary composers, one of whom will be explored in Chapter 6.

Understanding the uses for these folk instruments influenced the composition of later works, but before exploring those pieces, it is important to discuss the written tradition of folk songs. Collecting folk music began seriously around 1840. Prior to this time, very few examples of notated melodies existed, and, of those that did exist, it was difficult to determine which were Norwegian melodies and which were of Danish origin.83 Between 1840 and 1850, several collections of folk tunes were published, including Jörgen Moe’s Collection of Songs, Folk Ballads, and Folk Poems in Norwegian Peasant Dialects; L.M. Lindeman’s Norwegian

Mountain Melodies, containing 68 melodies for piano; and Christian Tönsberg’s

Norwegian National Costumes for which Ole Bull contributed five melodies arranged for piano.84 These books, many compiled by Norwegian composers, contain melodies heard throughout different regions of Norway. Some were performed with instruments while others were sung. Generally, the tunes in each region follow the natural scale, with some notes sounding slightly higher or lower than one usually expects. This is not surprising, however, considering the extensive use of flutes and lurs, both of which follow the natural scale.

83. Ibid., 106.

84. Ibid., 107.

40 Because so many songs held true to the natural scale tradition, some composers painstakingly sought to retain this folk quality in their music. Many began notating slight variances from equal temperament, using either arrows or sharps and flats above notes to indicate pitch tendencies. Still, as with the earlier church music, some of these nuances were lost in favor of straightforward melodies readily available to all who read them. Although many of these aspects were lost, what remained were examples of melodic and rhythmic structure, albeit imperfect.

The music collected by these men profoundly influenced Norwegian composers in the nineteenth and twentieth centuries, and many would later use these tunes as core musical components in their works.

Chapter 5: Norway’s Twentieth Century—A Time of Change

As we observed in the last chapter, the mid-nineteenth century carried many changes for Norway. Fueled by the growing desire for greater independence, composers began writing pieces with roots in Norwegian folk tunes. Additionally,

Grieg’s shift toward a distinctly Norwegian style of composing, unencumbered by

German influences, furthered the development of a nationalistic Romantic style that continued into the beginning of the twentieth century.

In continental Europe, Romanticism gave way to Impressionism and Neo- romanticism. Among Norway’s composers, however, these new styles did not take hold. Whereas Norwegian artists and authors traveled to Paris, where

Impressionism reigned, composers continued to receive formal training in Leipzig.85

Additionally, young composers used Grieg’s early works as models for their own compositions, thus firmly grounding Norway in the German Romantic style.

In 1905, Norway gained its independence from Sweden; this relationship had never formed a strong cultural bond like the one with Denmark, however, so

Norway experienced little change. Compared to the progress made in the

85. Grinde, “Late Romanticism,” 247.

42 nineteenth century, but especially during the Golden Age, this period remained stagnant for Norway’s musical development. During the 1920s, continued interest in folk music and growing emphasis on musical forms from the seventeenth and eighteenth centuries created a slight shift in composition, although these trends would not become fully resolved until Norway’s Neo-classical movement in the

1950s.86 Instead, the first three decades of the twentieth century focused primarily on folk music, gradually integrating French Impressionistic influences. The resulting outcome of these two styles was a distinctly “Norse” musical style of writing.87 During World War II, many composers elaborated on this style, writing works that combined folk tunes with inspiration from Igor Stravinsky and French

Impressionism. Although folk melodies had previously been published with little heed to rhythmic idiosyncrasies, despite L. M. Lindeman’s efforts, the new compositions exploited these authentic folk aspects.88 Additionally, the German occupation of Norway in 1940 created a strong nationalistic surge, marking a return to nationalism and the old Romantic style until the end of the war.

The end of the war represents a stark break with tradition. As we discussed in earlier chapters, most Norwegian composers received formal training in Leipzig, and later in Berlin, thus retaining a classically Romantic compositional style. After

86. Herresthal and Pedersen, 392.

87. Ibid., 392.

88. Ibid, 394.

43 the war, however, great changes occurred. Norway severed its ties with Germany and began sending composers to Copenhagen, Paris, and the United States.89 No longer fueled by the same strong ties to nationalism as their predecessors, young composers began to “internationalize” their works, cutting ties to Romanticism and the older generation.90 The resulting compositions marked the beginnings of modernism and the Neo-classical period in Norway.

During the 1950s, many Norwegian composers traveled to Paris to study with Nadia Boulanger. Boulanger, who had worked with such notable composers as

Igor Stravinsky and Aaron Copland, encouraged composers to explore new forms and discover their own compositional voices. Many of her Norwegian pupils produced works for flute, including Johan Kvandal and Øistein Sommerfeldt.

Although A. Gerardo Discepolo has written an extensive overview of Kvandal and his works, little has been written about Sommerfeldt.91 We will explore both of their contributions to standard flute repertoire in the next chapters.

In contrast to the Neo-classical dominance of the 1950s, the 1960s signaled a change in the modern musical language of Norway, shifting instead toward Neo- romanticism and Expressionism. This style change is often referred to as post-

89. Ibid., 401.

90. Ibid., 401.

91. A. Gerardo Discepolo, Flute Compositions by Johan Kvandal(1919- ), with a Guide to the Norwegian Flute Repertoire (D.M.A. document, The University of Alabama, 1993).

44 modernism. Due in part to the rebuilding and modernization of Norway after World

War II, many new art institutions were established and old ones were expanded, providing greater opportunities for orchestras, music schools, and chamber groups in Norway.92 Additionally, strong emphasis on local and regional music developed thanks to the Ministry of Culture. Mandating that cultural life in Norway expand, the

Ministry’s influence led to the eventual acknowledgement of musicians as serious employees who should receive decent pay for their work.93 This revolutionary idea prompted further development of musical style, encouraging composers to create works outside the norm. In particular, Finn Mortensen began composing in the post-modern, avant-garde style, creating many twelve-tone works in total rebuttal to the Neo-classical style. Several of Mortensen’s works for flute will be examined in

Chapter 7.

By the late 1960s, the public began to accept this new modern style. The twentieth century, however, represents a rapid period of change for Norway’s music, and the compositional style once again returned to Neo-expressionism and

Neo-romanticism.94 Most importantly, the desire to communicate meaning directly to the listener took a central role in the compositions of the next several decades.

While the works themselves are often complex, filled with large sound masses and

92. Herresthal and Pedersen, 405-406.

93. Ibid., 406.

94. Ibid., 407.

45 mixtures of tonalities and styles, the period from the late 1960s to the 1980s marks a return to musical reality and a more direct approach to evoking responses from listeners.95 This idea continued to develop, manifesting itself in the storytelling and emotional qualities of late twentieth-century compositions. Additionally, the study of sonology, the method of analyzing and describing aspects of sound, reinforced the idea of connecting to listeners. Norway developed its own distinct method of sonology, broadening the scope to categorize and analyze music not simply based on sounds but also according to narrative structures. 96 In stark contrast to the avant- garde music heard several decades earlier, composers began to rediscover the importance of communicating with their audiences.

With the influence of sonology, Norwegian composers once again returned to their roots in the folk music tradition, seeking a means by which to connect to audiences. Gradually, these aspects found their way back into mainstream compositions, although Norwegian composers continued to struggle with whether to use modern, avant-garde techniques or post-modern aspects in their music.

Nevertheless, the twentieth century marked a period of rapid growth and development in Norway’s musical culture, and the compositional output finally rivaled that of continental Europe. Norway, a newly established independent nation

95. Ibid., 412.

96. Ibid., 418.

46 in 1905, rapidly established itself as a powerful musical force, generating skillful composers and memorable compositions.

Chapter 6: Øistein Sommerfeldt

As we have already seen, folk music played a motivating role in the works of various contemporary composers, many of whom produced works of note that undoubtedly deserve a place in our standard repertoire, including Johan Kvandal.

For the purpose of this chapter, however, we will focus on one composer, Øistein

Sommerfeldt, and his solo flute works. Further study and exploration of other flute works by Norwegian composers will be conducted in Chapter 7.

Øistein Sommerfeldt (1919-1994) studied at the Music Conservatory in Oslo, where he earned a degree as choirmaster.97 He studied composition in Paris with

Nadia Boulanger, but unlike his fellow Norwegian composers, many of whom also studied with Boulanger, his compositional style was not heavily influenced by modern techniques. Rather, he sought ways in which to incorporate Norwegian tradition into his music.98 He was profoundly impacted by folk tunes, and we will investigate this connection later in the chapter. Before exploring these influences,

97. “Øistein Sommerfeldt,” Listen to Norway, October 2002, http://www.ballade.no/mic.nsf/doc/art2002100719555222483405 (accessed November 19, 2013).

98. Ibid.

48 however, we must discuss his compositions and their place in our standard repertoire.

When we discuss standard solo flute music from the twentieth century, names such as Debussy, Varèse, and Ibert readily spring to mind. When looking at twentieth-century solo compositions most frequently performed, names like André

Jolivet, Eugene Bozza, Elliot Carter, and Luciano Berio take a place on this list. Many of these works, however, present great challenges to the performers, including extreme pitch and dynamic ranges, complex rhythms, and flurries of notes that demand flawless technique. Because of these factors, innumerable twentieth- century unaccompanied works are inaccessible to younger performers. In contrast, many of Sommerfeldt’s compositions are easily accessible, containing memorable melodies and fairly uncomplicated rhythms. This factor alone makes them ideal candidates for inclusion in our twentieth-century standard repertoire. The challenge for performers lies in shaping the musical line and creating atmosphere.

When combined with a fairly standard range, infrequently ascending to C4, these works secure their place on our list of twentieth-century unaccompanied solo works.99

During his early years of composition, Sommerfeldt wrote primarily in the

Neo-classical style. As discussed in previous chapters, the shift toward Neo-

99. This system of notation is intended to clarify specific notes to the reader. “C1” refers to middle C, and each additional number represents a new octave designation. Therefore, “D2” refers to the fourth line D in the treble clef staff.

49 classicism occurred much later in Norway than in the rest of Europe, not impacting

Norway until after 1950. This influence can be seen in Sommerfeldt’s earliest works. Although many compositions from this period are short piano pieces, one primary example of solo flute repertoire exists, namely, his Divertimento, op. 9 from

1960. Structured in four movements, the work immediately illustrates

Sommerfeldt’s affinity with the Neo-classical style. The first movement begins with a slow introduction that soon gives way to an allegro, clearly illustrating sonata- allegro form. A dance-like theme emerges, contrasted by a slower, lyrical melody near the middle of the movement, but the first theme returns, marking a clear recapitulation. The movement concludes with a bright coda.

In the second movement, Sommerfeldt introduces a simple melody that becomes more embellished as the movement progresses, gradually incorporating more complex rhythms. Still, at the marked tempo of quarter equals “ca 44,” performers are able to navigate these rhythms with little difficulty.100 Gradually, the rhythms slow once more, and the movement ends as calmly as it began.

In contrast, the third movement presents a scherzo in 3/4 time. During the

Classical era, the scherzo replaced the minuet and trio as a typical third movement, once again illustrating a clear tie between Sommerfeldt and Neo-classicism. This movement, slightly faster than a minuet, presents a theme that spans the range of the flute, extending from B-flat 3 to C1. Flurries of notes build energy throughout

100. Øistein Sommerfeldt, Divertimento for Flute Solo, Op. 9 (Oslo: Norsk Musikforlag, 1970), 4.

50 the opening of the movement, but after the clear cadence of the A section,

Sommerfeldt employs a dolce, lyrical melody. This B section gradually subsides, marked by pointed rests, and a da capo heralds the return of the opening material.

In the final movement, Sommerfeldt employs lively rhythms and syncopation to create musical vitality. Brief interjections of simple melodies ensue, but the faster notes prevail, driving this work to its exciting conclusion. Sommerfeldt’s writing in this work challenges performers to shape simple phrases while expertly navigating technically demanding passages, making it a valuable addition to advanced undergraduate flute repertoire or graduate level studies. At times reminiscent of the flute writing in Stravinsky’s Octet for winds, this work proves its worth as a significant twentieth-century composition through contrastingly technical and lyrical passages.

Despite the apparent Neo-classical current driving his Divertimento, underlying themes in the work point directly to Sommerfeldt’s evolving style and eventual shift toward compositions influenced by Norwegian folk music. Although the first movement is, at its core, structured in sonata-allegro form, it contains elements of folk music. As we observed in our discussion of folk music in Chapter 4, two primary forms of music used the flute—seter (herding songs) and slåtter

(peasant folk dances). Evident almost immediately, the mixed meters and syncopations employed by Sommerfeldt give a distinctly dance-like character to the movement. Although the use of mixed meters and accents does not definitively prove a shift toward folk music, the syncopations found throughout the movement

51 hint at the change toward this style. Further, a recurring thematic motive of sol-fa- mi-re-mi-do, illustrated in Figure 5, reinforces the shift toward folk influences.

Figure 5: Recurring Motive

As we remember from earlier discussions, Norwegian folk tunes are defined by recurrences of short thematic motives. The motive in Figure 5 appears again in the final movement, thematically tying the entire composition together. In one final example that reinforces the influence of Norwegian folk tunes, the entire movement lasts a very short time, perfectly mirroring the length of a typical folk dance. The second movement displays similar qualities, this time influenced by seter. Although the movement appears straightforward, many indications of tempo variation, including accelerando, rubato, and ritardando, contribute to a feeling of improvisation, a key factor in defining seter.101 In contrast to the second, the third and fourth movements mark a return to slåtter, including many accented rhythms, syncopations, and hemiolas. Finally, the juxtaposition of seter and slåtter, the two

101. Grinde, 74.

52 most common uses for flute, firmly establishes this work’s connection to Norwegian folk music.

In another work by Sommerfeldt, these Norwegian folk influences become plainer still. Written for the recorder, his Sonatina, op. 47 from 1977 uses many folk influences. The work, structured in a series of fast-slow-fast movements, once again contrasts slåtter and seter. Only 50 measures long, the bright first movement clearly depicts a dance. Likely based on Sommerfeldt’s experiences studying dance tunes accompanied by voice or solo instrument, the movement seems to illustrate a refrain-verse-refrain pattern, emphasized by sudden dynamic contrasts. Very likely, a soloist performed the verses in such dances, hence the sudden drop from forte to piano. Further, the conclusion of each solo section is marked clearly by either silence or a ritardando, and melody that harmonically points back to tonic. Although these factors do not definitively prove a connection to folk music, similar characteristics in notated Norwegian folk music make this theory quite plausible.

Similarly, the second movement illustrates the clear influence of Norwegian folk music. Built on a recurring interval from D3 to A2, this motive drives melodic development throughout the movement. With an improvisatory quality,

Sommerfeldt expands on this simple tune, building drama and intensity through increased dynamic range, soaring pitches, and the inclusion of grace notes, a highly expressive gesture in slow movements. After a 42-measure battle between D3 and

A2 wherein the interval interrupts seven times, the work subsides with the conclusive repetition of A2. Still, the third movement most emphatically includes

53 folk references. Beginning with a short melody, most likely derived from folk tunes, the movement quickly launches into a lively dance in 3/4 time. Filled with combinations of triplets and sixteenth notes, the dance rhythms launch the work to its conclusion.

Within this Sonatina, Sommerfeldt incorporates many elements central to

Norwegian folk tunes. As we discussed earlier, the predecessor of the recorder in

Norway was the wood flute, or fairy flute, and his use of the instrument for this work illustrates a strong connection to Norwegian folk music. This instrument choice also adds a more authentic folk quality to the music itself, since the recorder produces a different timbre than the flute; however, we should not hesitate to perform the composition on either instrument. Like many of Handel’s sonatas, which were written for recorder but are now frequently performed on flute, this work is suited for both instruments. When performed on flute, players are able to learn Sommerfeldt’s style in a relatively straightforward work, much less complicated than the Divertimento, making it a clear choice for advanced high school students. Although some of the folk characteristics in this work are not as apparent when played on the transverse flute, the work emphasizes the contrast between good technique and exquisite expression, ultimately making it an invaluable composition for both the recorder and the flute. The Sonatina builds on simple melodies, rhythms, and a good range, making it an ideal addition to our unaccompanied repertoire.

54 Still, one other work deserves mention as a necessary addition to our twentieth-century repertoire. Using the same melody present in the final movement of the recorder Sonatina almost verbatim, Sommerfeldt incorporates this tune in what is perhaps the most characteristically Norwegian of all his works, Vårlåter

(Spring Tunes), op. 44 for solo flute, composed in 1976. As previously discussed, traditional Norwegian folk tunes were written for, and played during, a particular season. Drawing on this tradition, Sommerfeldt created this solo flute work.

Immediately, we notice the parallels between the title, Spring Tunes, and the traditional willow flute, the seljefløyte. As discussed in Chapter 4, the willow flute was an instrument that could only be made during a two-month period of the year when the sap ran high enough in the willow trees that the bark could be safely removed and constructed into an instrument. That Sommerfeldt chose to title his flute composition as such, therefore, illustrates this strong connection.

Further parallels develop when we examine the work more closely. Notably, all the movement titles are given in Norwegian, strengthening the bond between the work and its folk roots. Not surprisingly, each title also depicts a specific pastoral setting, especially when we remember that shepherds played flutes to pass the time while watching their herds. They could play their instruments without fear of disturbing the animals, and the surrounding landscapes would likely have influenced the tunes they composed. Flutes were also used to perform seter and slåtter alike and, therefore, made it possible for Sommerfeldt to compose a work with many different moods and characters. Finally, folk tunes were written for a

55 particular season. In the case of the flute, spring was the only season during which the instrument could have been played and thus the only logical natural setting for

Sommerfeldt’s composition.

Throughout the work, each movement clearly depicts a specific idea or spring scene. The first movement, “Fløytelåt (Tune for Flute),” explores the capabilities of the flute. Almost a lyrical improvisation, the movement begins with one motive that is repeated, expanding and exploring the possibilities apparent in the simple relationship of D and A. Interestingly, the movement is unmetered and unmeasured, enhancing the unmistakably improvisatory sensation of seter. This traditional folk style gives way to the second movement, “Veslebekken (The Brook).”

In contrast to the first relatively meditative melody, this movement offers a frenzy of flashy notes and double-tonguing passages that occur at a rapid rate, demanding much of the performer. Despite these challenges, Sommerfeldt unmistakably illustrates a stream bubbling along, breaking free of its winter slumber. Once again, the influence of nature directly ties the work to Norwegian folk music traditions.

Like the first two movements of Spring Tunes, Sommerfeldt again provides a contrast in the third movement, using a simple, singing melody in “Lys vårmorgen

(Spring Morning).” This lovely melody evokes a spring morning, from the paleness of dawn to cheerful birdsong at sunrise. Throughout the movement, Sommerfeldt incorporates graces notes, possibly imitating the qualities of the willow flute.

Ultimately, the grace notes enhance the musical line and propel it forward. Once more, it becomes plain that folk elements hold a central role in this work.

56 “Fjell-lengt (Mountain Yearning),” the fourth movement, begins with a slow, mournful opening gesture that repeats as the movement progresses, increasing in intensity with each repetition. An improvisation on the relationship between E and

D-sharp, Sommerfeldt’s use of seter once again reinforces the influence of

Norwegian folk music in his work. In this particular movement, Sommerfeldt utilizes the flute’s third register, emphasizing heightened emotions. On several occasions, the lower octave enters, perhaps to enhance the sense of questioning and searching apparent throughout. This emotion-filled movement, which clearly depicts a shepherd’s longing for home and loved ones, ends with one final mournful interval, a major seventh from E to D-sharp, to which the only response is the call’s hollow echo.

A perfect foil to this emotional movement, the work’s final movement, “Leik i vårbakken (Spring Play in the Hills),” is upbeat, playful, and lighthearted. One can clearly visualize Sommerfeldt’s inspiration through the falling lines and carefree nature of the movement. Sommerfeldt recycles this same movement, with a few changes in register and articulation, in his previously discussed recorder Sonatina.

Despite its dancing and upbeat character, the movement still challenges flutists, using an extensive range from C1 to the C4. The entire movement maintains its initial energy to the very end, using one last burst of notes to draw the work to its conclusion. Because it challenges performers to shape long melodies but also demands flawless technique, this work is an excellent selection for a junior or senior college recital but could also be performed by graduate students and professors.

57 Full of spirit and life, this unaccompanied work certainly deserves a place in our twentieth-century repertoire.

Many of Sommerfeldt’s works share a common thread—they were profoundly influenced by Norwegian folk music. Undoubtedly, other composers experienced this same phenomenon, and further exploration into the relationship of folk music and Norwegian compositions is needed. In addition to the influence of folk music, Sommerfeldt’s works convey the firm understanding of musicality and composition, from the ability to shape a phrase to the varied harmonic language and rhythmic motives apparent throughout. His works captivate performer and listener alike, drawing them in with contrastingly technical and lyrical melodies. Unlike some twentieth-century works, these pieces hold lasting impact and achieve a deep connection with performers and listeners.

Chapter 7: Other Noteworthy Twentieth-Century Norwegian Composers

As we discovered in the last chapter, folk music greatly influenced the compositions of Øistein Sommerfeldt. From allusions to nature to the folk-like structures employed throughout his works, Sommerfeldt expertly communicates with the listener, drawing one in with simple melodies and boundless energy. Many

Norwegian composers used these same influences in their own works while others forged their own paths into compositional styles far outside Sommerfeldt’s model.

Although different, their works hold value among the compositions from Norway and should be explored with the same consideration as those that share folk music influences. Although Øistein Sommerfeldt’s pieces undeniably deserve a place among the compositions most frequently performed, other composers’ works also necessitate our attention.

Johan Kvandal

In Chapter 5, we briefly discussed the stylistic connection between

Sommerfeldt and Johan Kvandal. In order to fully understand this connection, however, we must first examine Kvandal’s background. Kvandal (1935-1999) studied composition with Geirr Tveitt and Joseph Marx in Norway and Vienna,

59 respectively. He graduated from the Oslo Music Conservatory with degrees in conducting (1947) and organ (1951). 102 Upon graduation, he traveled to Paris to study with Nadia Boulanger, where he gained exposure to works by Bartók,

Stravinsky, and Messiaen. His compositions from the 1950s and 1960s used primarily contemporary elements, although he did not employ atonality or the use of electronics. 1970, however, marked the emergence his new compositional style.

Defined by Kvandal as “modern tonality,” the style combined Norwegian folk music with characteristics portrayed in international contemporary music.103 His 1963 work, Concerto for Flute and Strings, op. 22, depicts heightened expression and begins to hint at modern tonality. The work opens with a rhythmic capriccio that gives way to the second movement, an aria. Through long lines and expert lyricism, the piece builds in intensity to its dramatic climax. The movement then gives way to a cadenza, which transitions into the final rondo, filled with flurries of notes that build excitement. Contrasting highly expressive lines, technical passages, and relatively uncomplicated harmonic language, this composition proves its worth as a significant addition to our twentieth-century flute repertoire.

Another composition, Kvandal’s Romance, op. 16, no. 4 for flute and piano is also representative of this style. Written one year later in 1964, the work flirts with

102. Johan Kvandal (2011), http://www.johankvandal.com/index.php/biography(accessed November 14, 2013).

103. Ibid.

60 modern compositional strategies and longer, lush lines that hint at Neo- romanticism. Both the Concerto and Romance challenge performers to shape long, fluid lines while employing precise technique, making them excellent additions to our standard repertoire. Though less frequently played, Kvandal’s other chamber works for flute include Da Lontano, op. 32 for alto flute or clarinet and piano (1970),

Quintet for Winds, op. 34 (1971), Quartet for Flute, Violin, Viola, and Cello, op. 42

(1975-76), Nocturne (The Dream), op. 56 for alto flute or clarinet and piano (1980), and his Duo for Flute and Guitar, op. 78 (1994).104 Overall, these works represent compositions that take great strides toward expanding our twentieth-century flute repertoire.

Egil Hovland

Kvandal’s works increase the existing repertoire for twentieth-century flute music of Norway, and Egil Hovland ‘s compositions further explore the possibilities.

Hovland (1924-2013) graduated from the Oslo Conservatory as a church musician and continued his compositional studies with Bjarne Brustad in Oslo and Aaron

Copland in the United States.105 As a result of his studies with Boulanger, Copland introduced Hovland to many of the same techniques explored by Kvandal. Hovland

104. Ibid.

105. “Egil Hovland—Biography.” Listen to Norway, May 2013, http://www.listento.no/mic.nsf/doc/art2002101119070951262531 (accessed March 16, 2015).

61 experimented with new styles, including Norwegian Romanticism, Neo-classicism, twelve-tone music, and serialism before eventually returning to a simple Romantic style.

Throughout his lifetime, Hovland composed many different kinds of music, including symphonic works, concertos, chamber music, choral works, and sacred music, among them a church opera, church ballets, and music for biblical plays.106

His initial training as a church musician remained a central influence throughout his lifetime, and one of his most significant contributions includes updating the liturgical books of the Church of Norway.

Written in 1972, his Lamento for solo flute clearly depicts a dramatic biblical scene. A flute solo in the midst of the larger work Good Friday (Langfreidag), op. 75 for two-part chorus, six speaking voices, flute, and organ, the composition depicts heightened drama through extreme dynamic range and the use of grace notes. The piece challenges performers to convey a somber, longing atmosphere through extremely long lines, painstakingly slow tempos, and piano dynamics. Gradually, the work builds to the climax, punctuated by grace notes, fermatas, and forte dynamics as the melody moves upward from D3 to F3. Ultimately, Hovland conveys a clear story through this short piece, and we quite plainly experience the emotional turmoil of Mary as she weeps for her son on the cross.

106. Ibid.

62 Although the work is not diatonic, Hovland conveys tonality throughout the composition, using leading tones, fermatas, and rests to accentuate the tonal center.

The harmonies change subtly throughout the work, but listeners arrive firmly in A minor at the end of the piece. Overall, the work challenges performers to establish the correct atmosphere through the use of increasing dynamic intensity, long phrases, and the use of silences, making it ideal for advanced high school students or young college students.

In contrast to his Lamento, Hovland’s Motus, op. 6 for solo is a challenging and demanding piece. Written in 1961, the work is an oversized score of six pages arranged so the performer does not have to navigate page turns. At first glance, the work is quite intimidating, containing many sixteenth and thirty-second notes.

Hovland incorporates extreme registers, rapid leaps from low to high, and complex rhythms. The work is unmeasured and uses several extended techniques, including harmonics and flutter tonguing. Throughout the work, dynamic levels and tempo indications are clearly marked, firmly establishing this work as serialistic. Though quite technically challenging and demanding, the work deserves a place in our list of repertoire and could easily be performed on a graduate level flute recital, introducing audiences to a new composer of contemporary music.

Carl Gustav Sparre Olsen

Like Sommerfeldt, Carl Gustav Sparre Olsen (1903-1984) was profoundly influenced by Norwegian folk culture. Olsen, who is often referred to simply as

63 “Sparre Olsen,” served as a violinist in Bergen and Oslo before receiving a state cultural scholarship in 1936, which allowed him to focus on composition.107 His style is marked by impressionistic and neo-classical influences, but the lyrical nature of his music uses a strong core of folk elements, including nature, Norwegian folk tunes, and folk traditions.108 Most known for his songs and choral works, his

Poem for flute and piano expounds on the lyrical, singing qualities of the flute. The short chamber work, less than three minutes in length, emphasizes the expressive nature of the instrument, apparent in the mournful, sustained lines that Olsen writes. Again, Olsen uses the influences of seter, building improvisatory melodies from a simple motive.

Similarly, Olsen’s Serenade for Flute and String Orchestra, op. 45, later published in an edition for flute and piano, utilizes a combination of lyrical, longing melodies and quick, energetic bursts of notes. Like Sommerfeldt, Olsen hints at the two primary uses for the flute in folk music through his juxtaposition of slow and fast movements—that of seter and slåtter. The first movement, “Allegro ma non

107. “Sparre Olsen—Biography,” trans. by Palmyre Pierroux, Listen to Norway, October 2010, http://www.mic.no/mic.nsf/doc/art2002100720435373812314 (accessed November 18, 2013).

108. Carl Gustave Sparre Olsen, http://www.naxos.com/person/Carl_Gustave_Sparre_Olsen/19668.htm (accessed 18 November 2013).

64 troppo,” is structured in ABA form with a coda. The A section begins with quiet energy, apparent in the light, bouncing notes. Although the tonality is unclear, Olsen contrasts light and dark through the harmonies he employs. In contrast, the B section highlights the more lyrical, sustained, and passionate qualities that the flute evokes. This section, however, gives way to the A theme once more, and the work concludes brightly after a short coda. At five minutes and thirty seconds, “Andante,” the second movement, is the longest movement of the work. After an introduction by the strings that creates an atmosphere of caution and foreboding, the flute enters with a low, slow melody. As the movement progresses, the melody drives ever higher and grows more insistent. Olsen’s sparse orchestration, primarily static chords under the flute melody, allows the flute to emerge from the texture unforced, giving more power to the melody. Once again, the clear connection to Norwegian folk elements emerges, marked by the improvisatory nature of the movement.

Eventually, near the end of the movement, Olsen employs more active string lines to counteract the flute’s highest, most dramatic dynamic peak. This drama subsides, however, and the movement concludes with quiet, unresolved chords. “Allegro giocoso,” the final movement, opens with a much more active string introduction.

The flute’s entrance mimics the strings, building anxiety and agitation as the movement progresses. Quickly moving lines, emphasized by trills and grace notes, only fuel the anxiety. Near the end of the movement, a slower, more reflective melody returns, an echo of the second movement, but the anxious pace quickly returns. Increasing in intensity throughout the entire movement, the tension at last

65 resolves with the final chord, a resounding A major. Throughout the work, grace notes appear, likely an expressive tool derived from elements of Norwegian folk tunes. In Sommerfeldt’s works, we observed the use of these notes to heighten emotion and increase drama. These not only enhance expression but also aid in setting the tone and creating the appropriate atmosphere for each movement.

Olsen’s works, though not necessarily well known, represent two important twentieth-century flute compositions by a Norwegian composer, thereby expanding our existing repertoire.

Finn Mortensen

Just as Olsen’s works serve as important examples of twentieth-century

Norwegian flute music, Finn Mortensen (1922-1983) must also be included among our representative composers. Unlike Olsen and Sommerfeldt, however, Mortensen never felt the need to use folk music to define his style.109 Instead, Mortensen used flavors of Neo-classicism and 12-tone techniques throughout his works, eventually employing serialism. Mortensen, who was primarily self-taught, served as composition teacher at the Conservatory of Music in Oslo, which became the

Norwegian State Academy of Music in 1973; he became the Academy’s first

109. Finn Mortensen (2002), http://www.mic.no/mic.nsf/doc/art2002100810253245516594 (accessed November 18, 2013).

66 professor of composition.110 Mortensen’s works are primarily instrumental, and his

1953 work, Sonata for Flute Solo, op. 6, serves as a prime example of his writing style.

The work is divided into three movements—“Introduzione,” “Tema con variazioni,” and “Allegro giocoso”—which contrast one another. In the first movement, Mortensen uses a series of triumphant, passionate opening gestures reminiscent of Olivier Messiaen’s Le Merle Noir. These fragments, which each possess different inflections, ultimately push toward an anxious double tonguing passage that encompasses the flute’s entire range, driving forward until the opening motive interjects. Mortensen does not allow the listener to linger, however, and excitement builds once more through rapid series of notes. Although a slow melody attempts to emerge, the faster notes prevail, and the movement concludes with one final triumphant return of the opening gesture.

In contrast, the second movement’s theme begins with slow, fluid lines filled with long phrases that increasingly travel higher in the flute’s range. The first variation offers a livelier version of this melody, embellished with thirty-second notes and fermatas. In the middle variations, Mortensen uses a series of dances to modify the theme, including a gigue and a slightly off-balanced waltz. These variations are filled with technically demanding passages and rapid register changes, spanning a range from C1 to C4; however, this chaos subsides, and the

110. Ibid.

67 main theme returns in Variation 8 to draw the movement to its close. From this texture, the third movement emerges as a burst of sunshine, opening with extremely lively and upbeat gestures, punctuated by grace notes that enhance the dance-like tune. The melody explores the full range of the flute, working its way into an exploratory cadenza that lives high in the third octave. Finally, with one last outburst of C, the opening tune emerges from the texture, embellished with the use of flutter tongue. In a surprising twist at the very end, the line builds chromatically, increasing dynamically until the very last instant, when Mortensen writes two sixteenth notes on G3, each played piano. This dynamic work, full of intricate character changes and technically challenging passages, is central to the flutist’s twentieth-century repertoire.

Sommerfeldt’s works are essential additions to our twentieth-century flute repertoire, and we must also include Johan Kvandal, Egil Hovland, Carl Gustav

Sparre Olsen, and Finn Mortensen among the composers whose works deserve a place in our standard repertoire. Their stylistic differences provide a wide variety of compositions from which we can choose, and their connections to folk culture ensure that those traditions thrive. Although much different from many composers’ pieces, Finn Mortensen’s works explore a new style that mirrors many of his

European and American counterparts, including Jolivet, Messiaen, and Carter. Each of these Norwegian composers successfully created works deserving our attention, contrasting lyrical melodies against technically demanding passages. With this greater knowledge of repertoire, we can began integrating Norwegian compositions

68 into the repertoire we regularly perform, thus adding new variety to our performances and providing a more globally encompassing outlook of twentieth- century flute repertoire.

Epilogue

Although exploring several specific twentieth-century Norwegian composers of flute music is a valuable starting point in producing a more globally aware twentieth-century flute repertoire, further research of other topics is required to expand and refine this list. As previously discussed, we researched only the music of one Norwegian publishing company, Norsk Musikforlag, during the study for this document. In future projects, we shall explore twentieth-century flute works by other Norwegian publishers, including compositions for unaccompanied flute, flute and keyboard, flute and orchestra, and music inspired by folk influences.

Additionally, we shall continue to investigate the availability of publications by

Norsk Musikforlag, specifically the music of Øistein Sommerfeldt. While many resources acknowledge his works, purchasing these compositions proves slightly more challenging. One website (www.mic.no) provides purchasing information for

Sommerfeldt’s works, but it seems quite strange that these pieces are not more readily available. Further, this lack of availability may contribute to the infrequent study of his compositions. Beyond this research, many twentieth-century chamber works also include flute, and these compositions deserve equal attention.

70 Additionally, the impact of specific teachers and performers on compositions, such as Vidar Austvik, will be explored.

Each topic could easily be its own document and, when combined with other research, may ultimately yield a comprehensive catalogue of twentieth-century flute music by Norwegian composers. This research will also aid in launching the work to its next phase—exploring Norwegian flute music at the beginning of the twenty-first century. As illustrated in Appendix D, the number of Norwegian compositions increased with each decade of the twentieth century. Following this trend, the output from the first decade of the twenty-first century likely rivals the last decade of the twentieth century, leaving innumerable compositions yet to be explored.

Future Presentations, Performances, and Recordings

Due to the many works discovered during this project, future plans also include performing and presenting this music in recitals and at conferences. As we discovered, many twentieth-century Norwegian compositions are comparable to their French and American counterparts, yet few are performed. Although the publications previously discussed will aid in this endeavor, I also plan to submit proposals to present this research at conferences to raise awareness of the available repertoire. Additionally, recitals and other public performances featuring twentieth-century flute music by Norwegian composers will be given to promote this expansive repertoire. In order to demonstrate a wide range of compositions

71 and styles, preliminary recitals will include Sommerfeldt’s Spring Tunes, Kvandal’s

Romance, and Mortensen’s Sonata, op. 6. Because many musicians listen to their piece during the process of learning a particular work, future projects also include recording much of this music. In this way, the works become readily available to listeners, making the twentieth-century flute music of Norway more appealing and, ultimately, more accessible.

Additionally, I will continue to investigate the importance of these

Norwegian works in intermediate/early advanced musical training and advocate for their inclusion on standard contest and competition lists. Although Sommerfeldt’s works are readily accessible to younger players, these compositions are not found on contest lists, including the Ohio Music Education Association solo and small ensemble contest list, and the majority of competition lists still require only standard French, American, or German works.111 Because they afford similar challenges to performers, our contest and competition lists must expand to include twentieth-century Norwegian flute compositions.

Conclusions

After briefly studying the history of Norway, its fine composers, and twentieth-century flute music, it becomes apparent that these Norwegian flute

111 Ohio Music Education Association, “High School Solo and Ensemble,” http://www.omea-ohio.org (accessed March 13, 2015).

72 works deserve a place in our standard flute repertoire. Sommerfeldt, Kvandal,

Hovland, Olsen, and Mortensen provide an excellent introduction to the repertoire, but many more Norwegians composed for the flute, as illustrated in the following appendices. Additionally, the flutist’s current repertoire selections derive from earlier traditions and ease of accessibility, but technology now necessitates that we broaden our perspectives. Although once difficult, we can now easily communicate with individuals in other countries, travel abroad to experience a country’s musical traditions firsthand, and attend flute festivals throughout the world. Similarly, a growing interest in world music mandates that we expand our current repertoire by examining a largely unexplored collection of music. Although this document provides an introduction to twentieth-century flute music by Norwegian composers, more works are waiting to be discovered. We must be curious, broaden our perspectives, and explore the possibilities.

Bibliography

Carl Gustave Sparre Olsen. http://www.naxos.com/person/Carl_Gustave_Sparre_Olsen/19668.htm (accessed November 18, 2013).

Discepolo, A. Gerardo. Flute Compositions by Johan Kvandal (1919- ), with a Guide to the Norwegian Flute Repertoire. D.M.A. document, The University of Alabama, 1993. “Egil Hovland.” Listen to Norway. May 2013. http://www.listento.no/mic.nsf/doc/art2002101119070951262531 (accessed March 16, 2015).

“Evening Concert—Norway.” Boston, MA: The National Flute Association Eighth Annual Convention, 1980.

Finn Mortensen (2002). http://www.mic.no/mic.nsf/doc/art2002100810253245516594 (accessed 18 November 2013). Grinde, Nils. A History of Norwegian Music. Translated by William H. Halverson and Leland B. Sateren. Lincoln: University of Nebraska Press, 1991. Herresthal, Harald and Morten Eide Pedersen. “New Music of Norway.” In New Music of the Nordic Countries, edited by John D. White, 383-444. John D. White: Pendragon Press, 2002.

Hovland, Egil. “Lamento per flauto solo.” From Good Friday (Langfredag), op. 75. Oslo: Norsk Musikforlag, 1982.

Hovland, Egil. Motus, op. 36. Oslo: Norsk Musikforlag, 1979.

Johan Kvandal (2011). http://www.johankvandal.com/index.php/biography (accessed November 14, 2013).

74 Joyce-Grendahl, Kathleen. “The Norwegian Seljefløyte.” Flute Focus, June 4, 2010. http://www.flutefocus.com/303-norwegian-seljefloyte.html (accessed November 14, 2013).

Lange, Kristian. Norwegian Music: A Survey. Oslo: Johan Grundt Tanum Forlag, 1971.

“Lur.” abel.hive.no (accessed March 8, 2015).

Mortensen, Finn. Five Studies for Flute Solo, op. 11. Oslo: Norsk Musikforlag, 1976.

Mortensen, Finn. Sonata for Flute Solo, op. 6. Oslo: Norsk Musikforlag, 1958.

Ohio Music Education Association. “High School Solo and Ensemble.” http://www.omea-ohio.org (accessed March 13, 2015).

“Øistein Sommerfeldt.” Listen to Norway. October 2002. http://www.ballade.no/mic.nsf/doc/art2002100719555222483405 (accessed November 19, 2013).

Olsen, Sparre. Serenade for Flute and Piano, op. 45. Oslo: Norsk Musikforlag, 1979.

Pellerite, James. A Handbook of Literature for the Flute.. 3rd ed. Bloomington, Indiana: Zalo Publications, 1978.

Pierreuse, Bernard. Flute Literature. Paris: Editions Jobert, 1982.

Rasmussen, Mary and Donald Mattran. A Teacher’s Guide to the Literature of Woodwind Instruments. Milford, New Hampshire: The Cabinet Press, 1966.

“Recital Music of Scandinavia—Norway.” With Per Øien. Minneapolis, MN: National Flute Association Eighteenth Annual Convention, 1990.

Rowbotham, J.F. “Norwegian Music and Its Masters.” The Musical Times 57, no. 877 (March 1996):140-141.

“Scandinavian Flute Repertoire and Tradition.” With Per Øien and Natassja Linzau. Washington, D.C.: National Flute Association Thirtieth Annual Convention, 2002.

“Seljefløyte.” From The Recorder Player’s Page. www.saers.com (accessed March 8, 2015).

“Solo Concert with Vidar Austvik.” http://www.uis.no/fakulteter-institutter-sentre-

75 og-museum/det-humanistiske-fakultet/institutt-for-musikk-og- dans/solokonsert-med-vidar-austvik-article81143-8838.html (accessed March 16, 2015).

Sommerfeldt, Øistein. Divertimento for Flute Solo, op. 9. Oslo: Norsk Musikforlag, 1970.

Sommerfeldt, Øistein. Sonatina for Treble (Alto) Recorder, op. 47. Oslo: Norsk Musikforlag, 1977.

Sommerfeldt, Øistein. Spring Tunes for Flute Solo, op. 44. Oslo: Norsk Musikforlag, 1976.

“Sparre Olsen—Biography.” Translated by Palmyre Pierroux. Listen to Norway. October 2010. http://www.mic.no/mic.nsf/doc/art2002100720435373812314 (accessed November 18, 2013). “Tussefløyte.” ttmusikk.no (accessed March 8, 2015). Vester, Frans. Flute Repertoire Catalogue: 10,000 Titles. London: Musica Rara, 1967.

“Vidar Austvik: flute.” http://www.vidaraustvik.no/page45/page45.html (accessed January 29, 2015.)

Discography

Øien, Per. The Norwegian Flute. With the Norwegian Chamber Orchestra and Geir Henning Braaten. 1994 by BIS. BIS-CD-103. Compact disc.

Glossary of Terms

Lur—a horn, similar to the modern tenor trombone, used to give herding signals

Seljefløyte—a willow flute with no finger holes that is held transversely and produces sound by blowing across the embouchure hole and partially or completely covering the end of the tube

Seter—Norwegian herding melodies or tunes

Slåtter—Norwegian peasant dances

Tussefløyte—a wooden flute or “fairy flute” closely resembling the modern recorder

Appendix A: Twentieth-Century Solo Flute Compositions by Norwegian Composers

Aagard-Nilsen, Torstein. Prologue for Solo Flute Solo flute Publisher: NB noter 1993

Apollyon, Nicolay. Sora-iki for Flute Solo (in C) Solo flute Publisher: IACS/Pans 1994

Baden, Conrad. Sonata per flauto solo, op. 45 Solo flute Publisher: Norsk Musikforlag 1957

Berg, Olav. Moments for solo flute Solo flute Publisher: Norsk Musikforlag 1984

Berge, Sigurd. Fløyte solo Solo flute Publisher: Norsk Musikforlag 1976

Bergh, Sverre. Pan: Solo flute Solo flute Publisher: Norsk Musikforlag 1978 Variasjoner for solofløyte Solo flute Publisher: Norsk Musikforlag Exact publication year unknown

79 Bjørklund, Terje. Four Arkader Solo flute Publisher: NB noter 1985

Brevik, Tor. Fantasy for Flute Solo Solo flute Publisher: Musikk-Husets forlag 1979

Brustad, Bjarne. Divertimento for Flute Solo flute Publisher: NB noter 1958

Evensen, Bernt Kasberg. Suite for Clarinet (or Flute) Solo flute Publisher: NB noter 1972

Fongaard, Bjørn. 41 Konserter for diverse instrumenter og lydbånd, op. 131, no. 1-3 Flute and tape Publisher: NB noter 1976 Sonata for Piccolo, op. 125, no. 1 Solo piccolo Publisher: NB noter 1973 Sonata No. 1-4 for Flute, op. 125, no. 2-5 Solo flute Publisher: NB noter 1973

Gaathaug, Morten. Desember-Caprice: For fløyte solo, op. 38 Solo flute Publisher: NB noter 1989/90

Gjerstrøm, Bjørn G. Three Interludes: For Flute Solo, op. 33 Solo flute Publisher: NB noter 1996/97

80 Græsvold, Hans Magne. Sonata for flute solo Solo flute Publisher: NB noter 1992

Grov, Magne. Music for flute Solo flute Publisher: Norsk Musikforlag 1968

Heidel, Ida Helene. Fleurette Solo flute Publisher: NB noter 1970

Hovland, Egil. *Lamento per flauto solo, op. 75112 Solo flute Publisher: Norsk Musikforlag 1972 *Motus, op. 36 Solo flute Publisher: Norsk Musikforlag 1961

Husby, Kaare Dyvik. Muml: for fløyte solo Solo flute Publisher: Norsk Musikforlag 1997

Hvoslef, Ketil. Flauto solo Solo flute Publisher: NB noter 1970

Johnsen, Hallvard. Pastorale no. 2 per flauto solo, op. 91 Solo flute Publisher: Norsk Musikforlag 1988

Karlsen, Kjell Mørk. Sonata brevis: per flauto solo, op. 109, no. 4

112 Asterisks indicate works discussed in this document.

81 Solo flute Publisher: NB noter 1996 Killengreen, Christian. Spor Solo flute Publisher: NB noter 1987

Kittelsen, Guttorm. In memoriam: Solo Piece Solo flute (or horn/guitar/clarinet/violin/viola/oboe) Publisher: NB noter 1984/97

Kurbanov/Alexey. Intermezzo: for fløyte solo, op. 75bis Solo flute Publisher: NB noter 1985/2009

Kvam, Oddvar S. Monofoni for fløyte: Fra 5 monofonier for blåsekvintett, op. 43 Solo flute Publisher: Musikk-Husets forlag 1977

Kverndokk, Gisele. Cadenza: For fløyte solo Solo flute Publisher: NB noter 1998 Når våre namn blir ordlause: for solo fløyte Solo flute Publisher: NB noter 1987 Smil Thailand: For solo fløyte Solo flute Publisher: NB noter 1987

Lerstad, Terje Bjørn. Alte Flöten, op. 157 Solo alto flute Publisher: NB noter 1983 Enigma II, op. 44: Variasjoner på jakt etter tema Solo piccolo Publisher: NB noter

82 1981 Two Pieces for Flute Solo, op. 92 Solo flute Publisher: NB noter 1976/79

Marcussen, Kjell. Pastourell for Flute Solo Solo flute Publisher: Norsk Musikforlag 1987

Moland, Erik. 2 Fantasies for Flute Solo Solo flute Publisher: NB noter 1980/91

Mortensen, Finn. Five Studies for Flute Solo, op. 11 Solo flute Publisher: Norsk Musikforlag 1957 *Sonata for Flute Solo Solo flute Publisher: Norsk Musikforlag 1953

Østergaard, Edvin. Desiderata für Flöte Solo Solo flute Publisher: NB noter 1986/87

Persen, John. For fløyte Solo flute Publisher: NB noter 1976

Rønnes, Robert. Deux petites liberatés : pour flûte grave en sol Solo alto flute Publisher: Robert Rønnes Publications 1977/78 For the Modern Picture Solo bass flute Publisher: NB noter 1977

Schevikhoven, Henk van. Play I Solo flute Publisher: NB noter 1976

Skjelbred, Bjørn Bolstad. Breathe: for Flute and CD Flute and compact disc Publisher: NB noter 1999

Slettholm, Yngve. Air IV for Flute Solo Solo flute Publisher: NB noter 1993 Lux Solo flute Publisher: NB noter 1983

Sommerfeldt, Øistein. *Divertimento for Flute Solo, op. 9 Solo flute Publisher: Norsk Musikforlag 1960/1969 *Sonatina, op. 47 Solo treble recorder Publisher: Norsk Musikforlag 1977 *Vårlåter, op. 44 Solo flute Publisher: Norsk Musikforlag 1975

Stalheim, Jostein. L’histoire innocent: flauto traverso Solo flute Publisher: NB noter 1987

Thoresen, Lasse. With an Open Hand or a Clenched Fist?, op. 6 Solo flute Publisher: Norsk Musikforlag 1976

84 Vigulf, Roger. Sonate for Flute Solo flute Publisher: NB noter 1999

Waldejer, Erik. 8 sentenser for solo fløyte Solo flute Publisher: NB noter 1981

Wallin, Rolf. Depart Acting flutist and tape Publisher: Chester Music 1986

Appendix B: Twentieth-Century Flute and Keyboard Compositions by Norwegian Composers

Amdahl, Magne. Bagatell for alt-fløyte og piano Alto flute and piano Publisher: NB noter 1970

Baden, Conrad. Sonata for Flute and Piano, op. 135 Flute and piano Publisher: Norsk Musikforlag 1984

Brevik, Tor. Pastorale for Flute and Piano, op. 22 Flute and piano Publisher: NB noter 1964

Bull, Edvard Hagerup. Bagatelles: pour flute et piano Flute and piano Publisher: NB noter 1999 Dialogue pour Flute et Piano, op. 33b Flute and piano Publisher: Transatlantique 1969

Coates, Robert. Songs of the Nativity, op. 8 Flute and organ Publisher: Cantando 1972/91

Daniel-Lesur. Collection Panorama: Oeuvres contemporaines Flute and piano Publisher: Billaudot 1984

Dyndahl, Petter. Convexus for fløyte og piano Flute and piano Publisher: NB noter 1993

Eftestøl, Sverre. Sonatina for Flute and Piano: Adagio and Allegro Flute and piano Publisher: NB noter 1974 Trall frå Fjotland for flute and piano Flute (or voice) and piano Publisher: NB noter 1989

Elgarøy, Jan. Two Miniatures for Flute and Piano Flute and piano Publisher: Musikk-Husets forlag 1983

Evensen, Bernt Kasberg. Suite for Flute and Piano Flute and piano Publisher: NB noter 1984

Fongaard, Bjørn. Sonatina for Flute and Piano, op. 126, no. 1-7 Flute and piano Publisher: NB noter 1974

Gaathaug, Morten. Introduction and Allegro, op. 47B Flute and piano Publisher: NB noter 1996/2000 Quasi una fantasia, op. 12a Alto flute and piano Publisher: NB noter 1980/2002 Sonata for Flute and Piano in A minor, op. 13 Flute and piano Publisher: Norsk Musikforlag 1979

87 Gjerstrøm, Bjørn G. 3 Fairytailes for Flute and Piano, op. 32 Flute and piano Publisher: NB noter 1996

Groven, Eivind. Laling og sull: motiv fra piano konsert nr. 1 Flute and piano Publisher: Lyche 1950 Sun-mood Flute and piano Publisher: Norsk Musikforlag 1948

Habbestad, Kjell. Lua-Laatt: Kampen um elden Flute and piano Publisher: NB noter 1994 Orpheus for Flute and Piano, op. 34 Flute and piano Publisher: NB noter 1993

Hægeland, Eilert M. Fjelltonar Flute (or oboe) and piano (or organ) Publisher: NB noter 1992 Lokketonar Flute (or oboe/clarinet) and organ (or piano) Publisher: NB noter 1992 To betraktringer Flute and organ (or piano) Publisher: NB noter 1994

Holter, Stig Wernø. Fare una sonata: Music for Flute and Piano, op. 9 Flute and piano Publisher: NB noter 1975

Hovland, Egil. Suite for Flute and Piano, op. 15 Flute and piano

88 Publisher: Norsk Musikforlag 1950

Hundsnes, Svein. Four Pieces for Flute and Piano Flute (or oboe) and piano Publisher: Norsk Musikforlag 1985 Sonate for fløyte og klaver Flute and piano Publisher: NB noter 1985

Johnsen, Hallvard. Pastorale for Flute and Piano, op. 22 Flute and piano Publisher: Norsk Musikforlag 1954

Jordan, Sverre. Sonatina for Flute and Piano, op. 61 Flute and piano Publisher: Norsk Musikforlag 1976

Karlsen, Kjell Mørk. Partita on a Folk Tune from Lom, op. 7, no. 3 Flute and piano (or organ/harpsichord) Publisher: Norsk Musikforlag 1983 Short Chorale Partita for Treble Recorder and Harpsichord, op. 7, no. 2 Recorder (or flute) and harpsichord (or piano/organ) Publisher: Norsk Musikforlag 1975 Sonata Grande Flute and Piano Publisher: NB noter Exact year of composition unknown Sonatina on a Folk Tune from Etne, op. 7, no. 4 Flute and piano (or organ) Publisher: Norsk Musikforlag 1991

Kittelsen, Guttorm. Movements Flute and Piano Publisher: NB noter

89 1974

Kvandal, Johan. Da Lontano: Fantasia for altfløyte og klaver Alto flute (or clarinet) and piano Publisher: Norsk Musikforlag 1974 Nocturne for Alto Flute and Piano, op. 56 Alto flute (or B-flat clarinet) and piano Publisher: Norsk Musikforlag 1980 *Romance, op. 116, no. 4 Flute and piano (or organ) Publisher: Norsk Musikforlag 1972

Lerstad, Terje Bjørn. Rapsodi, op. 122 Flute and piano Publisher: NB noter 1978

Lindheim, Trond. Sonateen for piano og fløyte Flute and piano Publisher: NB noter 1982

Lunde jr., Ivar. Chromos Flute and piano Publisher: Skyline 1999 Fables: Short Stories for Flute and Piano, op. 69 Flute and piano Publisher: Shawnee Press 1978

Madsen, Trygve. Sonata for Flutes and Piano, op. 21 Flute (or piccolo/flute/alto flute) and piano Publisher: Musikk-Husets forlag 1978 Suite for Flute and Piano Flute and piano Publisher: Norsk Musikforlag 1980

90 Mæhlum, Svein. Sonatina for Flute and Piano Flute and piano Publisher: NB noter Exact year of composition unknown

Nicotra, Alfredo. Salong-musikk I sonateform: 4 satser til undervising, op. 20, no. 1 Flute and piano Publisher: NB noter 1996

Nyhus, Rolf. Poem for Flute and Piano Flute (or violin) and piano Publishers: Norton/ Norsk Musikforlag 1986 Pastorale for fløyte og orgel Flute and organ Publisher: Musikk-Husets forlag 1999

Nystedt, Knut. En stjerne klar: En julevise for fløyte og klaver Flute (or violin) and piano Publisher: Norsk Musikforlag 1990

Olsen, Carl Gustav Sparre. Intermezzo, op. 45 Flute and piano Publisher: Norsk Musikforlag 1974 *Poem for Flute and Piano, op. 11 Flute and piano No publisher information available Exact year of composition unknown *Serenade, op. 45 Flute and piano Publisher: Norsk Musikforlag 1979

Ørbeck, Anne-Marie. Pastorale e allegro Flute and piano Publisher: Norsk Musikforlag 1959

91 Østern, Per Hroar. Fire årstidsminatyrer: Årstidskvadrat i duoformat Flute and piano Publisher: Norsk Musikforlag 1991

Plagge, Wolfgang. Elevazione, op. 21 Flute and organ Publisher: NB noter 1984/86

Rønnes, Robert. Sonate pour flute et piano: A memoire Olivier Messiaen Flute and piano Publisher: NB noter 1989-92

Samkopf, Kjell. Invention No. 2 for Flute and Organ Flute and organ Publisher: NB noter 1975

Sundbø, Geir. Rondeau pour flûte et piano, op. 5 Flute and piano Publisher: NB noter 1992

Thoresen, Lasse. Interplay, op. 11 Flute and piano Publisher: Pizzicato 1981

Vaage, Knut. Fortuna Flute and piano Publisher: NB noter 1996

Volle, Bjarne. Fløytelåt Flute and piano Publisher: NB noter 1999

Appendix C: Twentieth-Century Compositions for Flute and Orchestra by Norwegian Composers

Albertsen, Per Hjort. Konsertino for fløyte og orkester, op. 7 Flute solo and orchestra Publisher: NB noter 1948

Apollyon, Nicolay. Nada Brama Alto flute solo, orchestra, and electronics Publisher: IACS 1991 Transmutation for Orchestra, Amplified Alto Flute, and Soundtrack Alto flute solo, orchestra, and soundtrack Publisher: IACS 1991

Arnestad, Finn. Væsletjennet Flute solo and orchestra Publisher: Musikk-Husets forlag 1970

Bræin, Edvard Fliflet. Concertino for Flute and Orchestra, op. 10 Flute solo and orchestra Publisher: Musikk-Husets forlag 1958

Bull, Edvard Hagerup. Concerto pour flûte et orchestre de chamber, op. 33 Flute solo and string orchestra Publisher: TRANSATLANTIQUE 1969

Elling, Catharinus. Concert Piece for Flute and Orchestra Flute solo and orchestra Publisher: NB noter Exact composition date unknown

Fongaard, Bjørn. Concerto for Flute and Orchestra, op. 120, no. 4 Flute solo and orchestra Publisher: NB noter 1976 Concerto for Flute and Orchestra, op. 120, no. 3 Flute solo and orchestra Publisher: NB noter 1976 Flauto Concerto, op. 120, no. 2 Flute solo and orchestra Publisher: NB noter 1973 Flauto-Piccolo Concerto, op. 120, no. 1 Piccolo solo and orchestra Publisher: NB noter 1973

Groven, Eivind. Rondo for Flute and Orchestra: Sun-mood Flute solo and orchestra Publisher: Eivind Grovens Institutt for reinstemming 1948

Habbestad, Kjell. Munch Suite, op. 53 Flute solo, string orchestra, and harp Publisher: NB noter 1998/2002

Hovland, Egil. Concerto for Piccolo Flute and Strings, op. 117 Piccolo solo and string orchestra Publisher: Norsk Musikforlag 1986 Suite for Flute and Strings, op. 31 Flute solo and string orchestra Publisher: NB noter 1959

Johnsen, Hallvard. Concertino for Flute and String Orchestra, op. 25 Flute solo and string orchestra Publisher: NB noter 1955

94 Karlsen, Kjell Mørk. Chamber Concerto for Flute, Strings, and Timpani, op. 60 Flute solo, string orchestra, and timpani Publisher: Norsk Musikforlag 1982

Kvandal, Johan. *Concerto for Flute and Strings, op. 22 Flute solo and string orchestra Publisher: Norsk Musikforlag 1963

Kverndokk, Gisele. Concerto for Flute Flute solo and orchestra Publishers: Kontrakt; WARNER/CHAPPELL MUSIC NORWAY 1998

Lerstad, Terje Bjørn. Concerto for Piccolo Flute and Orchestra Piccolo solo and orchestra Publisher: NB noter 1979

Madsen, Trygve. Concertino for Flute and Orchestra, op. 112 Flute solo and orchestra Publisher: NB noter 1998

Olsen, Carl Gustav Sparre. Intermezzo: Fra serenade, op. 45 Flute solo and string orchestra Publisher: NRK (MS) 1979 Serenade for Flute and String Orchestra, op. 45 Flute solo and string orchestra Publisher: Norsk Musikforlag 1957

Rypdal, Terje. Krystaller for altfløyte og lite orkester, op. 9 Alto flute solo and orchestra Publisher: NB noter 1973

Sæverud, Harald. Divertimento No. 1 per archi e flauto, op. 13 Flute solo and string orchestra Publisher: Norsk Musikforlag 1940

Slettholm, Yngve. Possible selections Flute solo and orchestra Publisher: NB noter 1987-88

Vea, Ketil. Concertino for Flute Solo, Recitation, and Chamber Orchestra Flute solo, narrator, and orchestra Publisher: Norsk Musikforlag 1983

Appendix D: Twentieth-Century Norwegian Flute Works by Decade

1940-1949 Albertsen, Per Hjort. Konsertino for fløyte og orkester, op. 7 Flute solo and orchestra Publisher: NB noter 1948

Groven, Eivind. Rondo for Flute and Orchestra: Sun-mood Flute solo and orchestra Publisher: Eivind Grovens Institutt for reinstemming 1948 Sun-mood Flute and piano Publisher: Norsk Musikforlag 1948

Sæverud, Harald. Divertimento No. 1 per archi e flauto, op. 13 Flute solo and string orchestra Publisher: Norsk Musikforlag 1940

1950-1959 Baden, Conrad. Sonata per flauto solo, op. 45 Solo flute Publisher: Norsk Musikforlag 1957

Bræin, Edvard Fliflet. Concertino for Flute and Orchestra, op. 10 Flute solo and orchestra Publisher: Musikk-Husets forlag 1958

Brustad, Bjarne. Divertimento for Flute Solo flute Publisher: NB noter

97 1958

Groven, Eivind. Laling og sull: motiv fra piano konsert nr. 1 Flute and piano Publisher: Lyche 1950

Hovland, Egil. Suite for Flute and Piano, op. 15 Flute and piano Publisher: Norsk Musikforlag 1950 Suite for Flute and Strings, op. 31 Flute solo and string orchestra Publisher: NB noter 1959

Johnsen, Hallvard. Concertino for Flute and String Orchestra, op. 25 Flute solo and string orchestra Publisher: NB noter 1955 Pastorale for Flute and Piano, op. 22 Flute and piano Publisher: Norsk Musikforlag 1954

Mortensen, Finn. Five Studies for Flute Solo, op. 11 Solo flute Publisher: Norsk Musikforlag 1957 *Sonata for Flute Solo, op.6 Solo flute Publisher: Norsk Musikforlag 1953

Ørbeck, Anne-Marie. Pastorale e allegro Flute and piano Publisher: Norsk Musikforlag 1959

Olsen, Carl Gustav Sparre. *Serenade for Flute and String Orchestra, op. 45 Flute solo and string orchestra Publisher: Norsk Musikforlag

98 1957

1960-1969 Brevik, Tor. Pastorale for Flute and Piano, op. 22 Flute and piano Publisher: NB noter 1964

Bull, Edvard Hagerup. Concerto pour flûte et orchestre de chamber, op. 33 Flute solo and string orchestra Publisher: TRANSATLANTIQUE 1969 Dialogue pour Flute et Piano, op. 33b Flute and piano Publisher: TRANSATLANTIQUE 1969

Grov, Magne. Music for flute Solo flute Publisher: Norsk Musikforlag 1968

Hovland, Egil. *Motus, op. 36 Solo flute Publisher: Norsk Musikforlag 1961

Kvandal, Johan. *Concerto for Flute and Strings, op. 22 Flute solo and string orchestra Publisher: Norsk Musikforlag 1963

Sommerfeldt, Øistein. *Divertimento for Flute Solo, op. 9 Solo flute Publisher: Norsk Musikforlag 1960/1969

1970-1979 Amdahl, Magne. Bagatell for alt-fløyte og piano Alto flute and piano Publisher: NB noter 1970

Arnestad, Finn. Væsletjennet Flute solo and orchestra Publisher: Musikk-Husets forlag 1970

Berge, Sigurd. Fløyte solo Solo flute Publisher: Norsk Musikforlag 1976

Bergh, Sverre. Pan: Solo flute Solo flute Publisher: Norsk Musikforlag 1978

Brevik, Tor. Fantasy for Flute Solo Solo flute Publisher: Musikk-Husets forlag 1979

Coates, Robert. Songs of the Nativity, op. 8 Flute and organ Publisher: Cantando 1972/91

Eftestøl, Sverre. Sonatina for Flute and Piano: Adagio and Allegro Flute and piano Publisher: NB noter 1974

Evensen, Bernt Kasberg. Suite for Clarinet (or Flute) Solo flute Publisher: NB noter 1972

Fongaard, Bjørn. 41 Concertos for Flute and Orchestra, op. 120, no. 4 Flute solo and orchestra Publisher: NB noter 1976 Concerto for Flute and Orchestra, op. 120, no. 3 Flute solo and orchestra Publisher: NB noter

100 1976 Flauto Concerto, op. 120, no. 2 Flute solo and orchestra Publisher: NB noter 1973 Flauto-Piccolo Concerto, op. 120, no. 1 Piccolo solo and orchestra Publisher: NB noter 1973 Konserter for diverse instrumenter og lydbånd, op. 131, No. 1-3 Flute and tape Publisher: NB noter 1976 Sonata for Piccolo, op. 125, no. 1 Solo piccolo Publisher: NB noter 1973 Sonata No. 1-4 for Flute, op. 125, no. 2-5 Solo flute Publisher: NB noter 1973 Sonatina for Flute and Piano, op. 126, no. 1-7 Flute and piano Publisher: NB noter 1974

Gaathaug, Morten. Sonata for Flute and Piano in A minor, op. 13 Flute and piano Publisher: Norsk Musikforlag 1979

Heidel, Ida Helene. Fleurette Solo flute Publisher: NB noter 1970

Holter, Stig Wernø. Fare una sonata: Music for Flute and Piano, op. 9 Flute and piano Publisher: NB noter 1975

Hovland, Egil. *Lamento per flauto solo, op. 75 Solo flute

101 Publisher: Norsk Musikforlag 1972

Hvoslef, Ketil. Flauto solo Solo flute Publisher: NB noter 1970

Jordan, Sverre. Sonatina for Flute and Piano, op. 61 Flute and piano Publisher: Norsk Musikforlag 1976

Karlsen, Kjell Mørk. Short Chorale Partita for Treble Recorder and Harpsichord, op. 7, no. 2 Recorder (or flute) and harpsichord (or piano/organ) Publisher: Norsk Musikforlag 1975

Kittelsen, Guttorm. Movements Flute and Piano Publisher: NB noter 1974

Kvam, Oddvar S. Monofoni for fløyte: Fra 5 monofonier for blåsekvintett, op. 43 Solo flute Publisher: Musikk-Husets forlag 1977

Kvandal, Johan. Da Lontano: Fantasia for altfløyte og klaver Alto flute (or clarinet) and piano Publisher: Norsk Musikforlag 1974 *Romance, op. 116, no. 4 Flute and piano (or organ) Publisher: Norsk Musikforlag 1972

Lerstad, Terje Bjørn. Concerto for Piccolo Flute and Orchestra Piccolo solo and orchestra Publisher: NB noter 1979

102 Rapsodi, op. 122 Flute and piano Publisher: NB noter 1978 Two Pieces for Flute Solo, op. 92 Solo flute Publisher: NB noter 1976/79

Lunde jr., Ivar. Fables: Short Stories for Flute and Piano, op. 69 Flute and piano Publisher: Shawnee Press 1978

Madsen, Trygve. Sonata for Flutes and Piano, op. 21 Flute (or piccolo/flute/alto flute) and piano Publisher: Musikk-Husets forlag 1978

Persen, John. For fløyte Solo flute Publisher: NB noter 1976

Rønnes, Robert. Deux petites liberatés : pour flûte grave en sol Solo alto flute Publisher: Robert Rønnes Publications 1977/78 For the Modern Picture Solo bass flute

103 Publisher: NB noter 1977

Rypdal, Terje. Krystaller for altfløyte og lite orkester, op. 9 Alto flute solo and orchestra Publisher: NB noter 1973

Samkopf, Kjell. Invention No. 2 for Flute and Organ Flute and organ Publisher: NB noter 1975

Schevikhoven, Henk van. Play I Solo flute Publisher: NB noter 1976

Sommerfeldt, Øistein. *Sonatina, op. 47 Solo treble recorder Publisher: Norsk Musikforlag 1977 *Vårlåter, op. 44 Solo flute Publisher: Norsk Musikforlag 1975

Thoresen, Lasse. With an Open Hand or a Clenched Fist?, op. 6 Solo flute Publisher: Norsk Musikforlag 1976

1980-1989 Baden, Conrad. Sonata for Flute and Piano, op. 135 Flute and piano Publisher: Norsk Musikforlag 1984

Berg, Olav. Moments for solo flute Solo flute Publisher: Norsk Musikforlag 1984

104 Bjørklund, Terje. Four Arkader Solo flute Publisher: NB noter 1985

Daniel-Lesur. Collection Panorama: Oeuvres contemporaines Flute and piano Publisher: Billaudot 1984

Eftestøl, Sverre. Trall frå Fjotland for flute and piano Flute (or voice) and piano Publisher: NB noter 1989

Elgarøy, Jan. Two Miniatures for Flute and Piano Flute and piano Publisher: Musikk-Husets forlag 1983

Evensen, Bernt Kasberg. Suite for Flute and Piano Flute and piano Publisher: NB noter 1984

Gaathaug, Morten. Desember-Caprice: For fløyte solo, op. 38 Solo flute Publisher: NB noter 1989/90 Quasi una fantasia, op. 12a Alto flute and piano Publisher: NB noter 1980/2002

Hovland, Egil. Concerto for Piccolo Flute and Strings, op. 117 Piccolo solo and string orchestra Publisher: Norsk Musikforlag 1986

Hundsnes, Svein. Four Pieces for Flute and Piano Flute (or oboe) and piano Publisher: Norsk Musikforlag 1985

105 Sonate for fløyte og klaver Flute and piano Publisher: NB noter 1985

Johnsen, Hallvard. Pastorale no. 2 per flauto solo, op. 91 Solo flute Publisher: Norsk Musikforlag 1988

Killengreen, Christian. Spor Solo flute Publisher: NB noter 1987

Kittelsen, Guttorm. In memoriam: Solo Piece Solo flute (or horn/guitar/clarinet/violin/viola/oboe) Publisher: NB noter 1984/97

Kurbanov/Alexey. Intermezzo: for fløyte solo, op. 75bis Solo flute Publisher: NB noter 1985/2009

Kvandal, Johan. Nocturne for Alto Flute and Piano, op. 56 Alto flute (or B-flat clarinet) and piano Publisher: Norsk Musikforlag 1980

Kverndokk, Gisele. Når våre namn blir ordlause: for solo fløyte Solo flute Publisher: NB noter 1987

106 Smil Thailand: For solo fløyte Solo flute Publisher: NB noter 1987

Lerstad, Terje Bjørn. Alte Flöten, op. 157 Solo alto flute Publisher: NB noter 1983 Enigma II, op. 44: Variasjoner på jakt etter tema Solo piccolo Publisher: NB noter 1981

Lindheim, Trond. Sonateen for piano og fløyte Flute and piano Publisher: NB noter 1982

Marcussen, Kjell. Pastourell for Flute Solo Solo flute Publisher: Norsk Musikforlag 1987

Madsen, Trygve. Suite for Flute and Piano Flute and piano Publisher: Norsk Musikforlag 1980

Moland, Erik. 2 Fantasies for Flute Solo Solo flute Publisher: NB noter 1980/91

Nyhus, Rolf. Poem for Flute and Piano Flute (or violin) and piano Publishers: Norton/ Norsk Musikforlag 1986

Østergaard, Edvin. Desiderata für Flöte Solo Solo flute Publisher: NB noter 1986/87

107

Plagge, Wolfgang. Elevazione, op. 21 Flute and organ Publisher: NB noter 1984/86

Rønnes, Robert. Sonate pour flute et piano: A memoire Olivier Messiaen Flute and piano Publisher: NB noter 1989-92

Slettholm, Yngve. Lux Solo flute Publisher: NB noter 1983 Possible selections Flute solo and orchestra Publisher: NB noter 1987-88

Stalheim, Jostein. L’histoire innocent: flauto traverso Solo flute Publisher: NB noter 1987

Thoresen, Lasse. Interplay, op. 11 Flute and piano Publisher: Pizzicato 1981

Vea, Ketil. Concertino for Flute Solo, Recitation, and Chamber Orchestra Flute solo, narrator, and orchestra Publisher: Norsk Musikforlag 1983

Waldejer, Erik. 8 sentenser for solo fløyte Solo flute Publisher: NB noter 1981

Wallin, Rolf. Depart Acting flutist and tape Publisher: Chester Music

108 1986

1990-1999 Aagard-Nilsen, Torstein. Prologue for Solo Flute Solo flute Publisher: NB noter 1993

Apollyon, Nicolay. Nada Brama Alto flute solo, orchestra, and electronics Publisher: IACS 1991 Sora-iki for Flute Solo (in C) Solo flute Publisher: IACS/Pans 1994 Transmutation for Orchestra, Amplified Alto Flute, and Soundtrack Alto flute solo, orchestra, and soundtrack Publisher: IACS 1991

Bull, Edvard Hagerup. Bagatelles: pour flute et piano Flute and piano Publisher: NB noter 1999

Dyndahl, Petter. Convexus for fløyte og piano Flute and piano Publisher: NB noter 1993

Gaathaug, Morten. Introduction and Allegro, op. 47B Flute and piano Publisher: NB noter 1996/2000

Gjerstrøm, Bjørn G. 3 Fairytailes for Flute and Piano, op. 32 Flute and piano Publisher: NB noter 1996

109 Three Interludes: For Flute Solo, op. 33 Solo flute Publisher: NB noter 1996/97

Græsvold, Hans Magne. Sonata for flute solo Solo flute Publisher: NB noter 1992

Habbestad, Kjell. Lua-Laatt: Kampen um elden Flute and piano Publisher: NB noter 1994 Munch Suite, op. 53 Flute solo, string orchestra, and harp Publisher: NB noter 1998/2002 Orpheus for Flute and Piano, op. 34 Flute and piano Publisher: NB noter 1993

Husby, Kaare Dyvik. Muml: for fløyte solo Solo flute Publisher: Norsk Musikforlag 1997

110 Karlsen, Kjell Mørk. Sonata brevis: per flauto solo, op. 109, no. 4 Solo flute Publisher: NB noter 1996 Sonatina on a Folk Tune from Etne, op. 7, no. 4 Flute and piano (or organ) Publisher: Norsk Musikforlag 1991

Kverndokk, Gisele. Cadenza: For fløyte solo Solo flute Publisher: NB noter 1998 Concerto for Flute Flute solo and orchestra Publishers: Kontrakt; WARNER/CHAPPELL MUSIC NORWAY 1998

Lunde jr., Ivar. Chromos Flute and piano Publisher: Skyline 1999

Madsen, Trygve. Concertino for Flute and Orchestra, op. 112 Flute solo and orchestra Publisher: NB noter 1998

Nicotra, Alfredo. Salong-musikk I sonateform: 4 satser til undervising, op. 20, no. 1 Flute and piano Publisher: NB noter 1996

Nyhus, Rolf. Pastorale for fløyte og orgel Flute and organ Publisher: Musikk-Husets forlag 1999

Nystedt, Knut. En stjerne klar: En julevise for fløyte og klaver Flute (or violin) and piano Publisher: Norsk Musikforlag 1990

111 Østern, Per Hroar. Fire årstidsminatyrer: Årstidskvadrat i duoformat Flute and piano Publisher: Norsk Musikforlag 1991

Skjelbred, Bjørn Bolstad. Breathe: for Flute and CD Flute and compact disc Publisher: NB noter 1999

Slettholm, Yngve. Air IV for Flute Solo Solo flute Publisher: NB noter 1993

Sundbø, Geir. Rondeau pour flûte et piano, op. 5 Flute and piano Publisher: NB noter 1992

Vaage, Knut. Fortuna Flute and piano Publisher: NB noter 1996

Vigulf, Roger. Sonate for Flute Solo flute Publisher: NB noter 1999

Volle, Bjarne. Fløytelåt Flute and piano Publisher: NB noter 1999

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Appendix E: Composers of Twentieth-Century Norwegian Flute Music

Aagard-Nilsen, Torstein. Prologue for Solo Flute Solo flute Publisher: NB noter 1993

Albertsen, Per Hjort. Konsertino for fløyte og orkester, op. 7 Flute solo and orchestra Publisher: NB noter 1948

Amdahl, Magne. Bagatell for alt-fløyte og piano Alto flute and piano Publisher: NB noter 1970

Arnestad, Finn. Væsletjennet Flute solo and orchestra Publisher: Musikk-Husets forlag 1970

113 Baden, Conrad. Sonata for Flute and Piano, op. 135 Flute and piano Publisher: Norsk Musikforlag 1984

Berg, Olav. Moments for solo flute Solo flute Publisher: Norsk Musikforlag 1984

Berge, Sigurd. Fløyte solo Solo flute Publisher: Norsk Musikforlag 1976

Bergh, Sverre. Pan: Solo flute Solo flute Publisher: Norsk Musikforlag 1978 Variasjoner for solofløyte Solo flute Publisher: Norsk Musikforlag Exact publication year unknown

Bjørklund, Terje. Four Arkader Solo flute Publisher: NB noter 1985

Bræin, Edvard Fliflet. Concertino for Flute and Orchestra, op. 10 Flute solo and orchestra Publisher: Musikk-Husets forlag 1958

Brevik, Tor. Fantasy for Flute Solo Solo flute Publisher: Musikk-Husets forlag 1979 Pastorale for Flute and Piano, op. 22 Flute and piano Publisher: NB noter 1964

114 Brustad, Bjarne. Divertimento for Flute Solo flute Publisher: NB noter 1958

Bull, Edvard Hagerup. Bagatelles: pour flute et piano Flute and piano Publisher: NB noter 1999 Concerto pour flûte et orchestre de chamber, op. 33 Flute solo and string orchestra Publisher: TRANSATLANTIQUE 1969 Dialogue pour Flute et Piano, op. 33b Flute and piano Publisher: Transatlantique 1969

Coates, Robert. Songs of the Nativity, op. 8 Flute and organ Publisher: Cantando 1972/91

Daniel-Lesur. Collection Panorama: Oeuvres contemporaines Flute and piano Publisher: Billaudot 1984

Dyndahl, Petter. Convexus for fløyte og piano Flute and piano Publisher: NB noter 1993

115 Elgarøy, Jan. Two Miniatures for Flute and Piano Flute and piano Publisher: Musikk-Husets forlag 1983

Elling, Catharinus. Concert Piece for Flute and Orchestra Flute solo and orchestra Publisher: NB noter Exact composition date unknown

Evensen, Bernt Kasberg. Suite for Clarinet (or Flute) Solo flute Publisher: NB noter 1972 Suite for Flute and Piano Flute and piano Publisher: NB noter 1984

Fongaard, Bjørn. 41 . Concerto for Flute and Orchestra, op. 120, no. 3 Flute solo and orchestra Publisher: NB noter 1976 Concerto for Flute and Orchestra, op. 120, no. 4 Flute solo and orchestra Publisher: NB noter 1976 Flauto Concerto, op. 120, no. 2 Flute solo and orchestra Publisher: NB noter 1973 Flauto-Piccolo Concerto, op. 120, no. 1 Piccolo solo and orchestra Publisher: NB noter 1973 Konserter for diverse instrumenter og lydbånd, op. 131, No. 1-3 Flute and tape Publisher: NB noter 1976 Sonata for Piccolo, op. 125, no. 1 Solo piccolo Publisher: NB noter 1973

116 Sonata No. 1-4 for Flute, op. 125, no. 2-5 Solo flute Publisher: NB noter 1973 Sonatina for Flute and Piano, op. 126, no. 1-7 Flute and piano Publisher: NB noter 1974

Gaathaug, Morten. Desember-Caprice: For fløyte solo, op. 38 Solo flute Publisher: NB noter 1989/90 Introduction and Allegro, op. 47B Flute and piano Publisher: NB noter 1996/2000 Quasi una fantasia, op. 12a Alto flute and piano Publisher: NB noter 1980/2002 Sonata for Flute and Piano in A minor, op. 13 Flute and piano Publisher: Norsk Musikforlag 1979

Gjerstrøm, Bjørn G. 3 Fairytailes for Flute and Piano, op. 32 Flute and piano Publisher: NB noter 1996 Three Interludes: For Flute Solo, op. 33 Solo flute Publisher: NB noter 1996/97

Græsvold, Hans Magne. Sonata for flute solo Solo flute Publisher: NB noter 1992

Grov, Magne. Music for flute Solo flute Publisher: Norsk Musikforlag

117 1968

Groven, Eivind. Laling og sull: motiv fra piano konsert nr. 1 Flute and piano Publisher: Lyche 1950 Rondo for Flute and Orchestra: Sun-mood Flute solo and orchestra Publisher: Eivind Grovens Institutt for reinstemming 1948 Sun-mood Flute and piano Publisher: Norsk Musikforlag 1948

Habbestad, Kjell. Lua-Laatt: Kampen um elden Flute and piano Publisher: NB noter 1994 Munch Suite, op. 53 Flute solo, string orchestra, and harp Publisher: NB noter 1998/2002

Heidel, Ida Helene. Fleurette Solo flute Publisher: NB noter 1970

118 Holter, Stig Wernø. Fare una sonata: Music for Flute and Piano, op. 9 Flute and piano Publisher: NB noter 1975

Hovland, Egil. Concerto for Piccolo Flute and Strings, op. 117 Piccolo solo and string orchestra Publisher: Norsk Musikforlag 1986 *Lamento per flauto solo, op. 75 Solo flute Publisher: Norsk Musikforlag 1972 *Motus, op. 36 Solo flute Publisher: Norsk Musikforlag 1961 Orpheus for Flute and Piano, op. 34 Flute and piano Publisher: NB noter 1993 Suite for Flute and Piano, op. 15 Flute and piano Publisher: Norsk Musikforlag 1950 Suite for Flute and Strings, op. 31 Flute solo and string orchestra Publisher: NB noter 1959

Hundsnes, Svein. Four Pieces for Flute and Piano Flute (or oboe) and piano Publisher: Norsk Musikforlag 1985 Sonate for fløyte og klaver Flute and piano Publisher: NB noter 1985

Husby, Kaare Dyvik. Muml: for fløyte solo Solo flute Publisher: Norsk Musikforlag 1997

119

Hvoslef, Ketil. Flauto solo Solo flute Publisher: NB noter 1970

Jordan, Sverre. Sonatina for Flute and Piano, op. 61 Flute and piano Publisher: Norsk Musikforlag 1976

Karlsen, Kjell Mørk. Chamber Concerto for Flute, Strings, and Timpani, op. 60 Flute solo, string orchestra, and timpani Publisher: Norsk Musikforlag 1982 Partita on a Folk Tune from Lom, op. 7, no. 3 Flute and piano (or organ/harpsichord) Publisher: Norsk Musikforlag 1983 Short Chorale Partita for Treble Recorder and Harpsichord, op. 7, no. 2 Recorder (or flute) and harpsichord (or piano/organ) Publisher: Norsk Musikforlag 1975 Sonata brevis: per flauto solo, op. 109, no. 4 Solo flute Publisher: NB noter 1996 Sonata Grande Flute and Piano

120 Publisher: NB noter Exact year of composition unknown Sonatina on a Folk Tune from Etne, op. 7, no. 4 Flute and piano (or organ) Publisher: Norsk Musikforlag 1991

Killengreen, Christian. Spor Solo flute Publisher: NB noter 1987

Kittelsen, Gultorm. In memoriam: Solo Piece Solo flute (or horn/guitar/clarinet/violin/viola/oboe) Publisher: NB noter 1984/97 Movements Flute and Piano Publisher: NB noter 1974

Kurbanov/Alexey. Intermezzo: for fløyte solo, op. 75bis Solo flute Publisher: NB noter 1985/2009

Kvam, Oddvar S. Monofoni for fløyte: Fra 5 monofonier for blåsekvintett, op. 43 Solo flute Publisher: Musikk-Husets forlag 1977

Kvandal, Johan. *Concerto for Flute and Strings, op. 22 Flute solo and string orchestra Publisher: Norsk Musikforlag 1963 Da Lontano: Fantasia for altfløyte og klaver Alto flute (or clarinet) and piano Publisher: Norsk Musikforlag 1974 Nocturne for Alto Flute and Piano, op. 56 Alto flute (or B-flat clarinet) and piano Publisher: Norsk Musikforlag 1980

121 *Romance, op. 116, no. 4 Flute and piano (or organ) Publisher: Norsk Musikforlag 1972

Kverndokk, Gisele. Cadenza: For fløyte solo Solo flute Publisher: NB noter 1998 Concerto for Flute Flute solo and orchestra Publishers: Kontrakt; WARNER/CHAPPELL MUSIC NORWAY 1998 Når våre namn blir ordlause: for solo fløyte Solo flute Publisher: NB noter 1987 Smil Thailand: For solo fløyte Solo flute Publisher: NB noter 1987

Lerstad, Terje Bjørn. Alte Flöten, op. 157 Solo alto flute Publisher: NB noter 1983 Concerto for Piccolo Flute and Orchestra Piccolo solo and orchestra Publisher: NB noter 1979 Enigma II, op. 44: Variasjoner på jakt etter tema Solo piccolo Publisher: NB noter 1981 Rapsodi, op. 122 Flute and piano Publisher: NB noter 1978 Two Pieces for Flute Solo, op. 92 Solo flute Publisher: NB noter 1976/79

122 Lindheim, Trond. Sonateen for piano og fløyte Flute and piano Publisher: NB noter 1982

Lunde jr., Ivar. Chromos Flute and piano Publisher: Skyline 1999 Fables: Short Stories for Flute and Piano, op. 69 Flute and piano Publisher: Shawnee Press 1978

Madsen, Trygve. Concertino for Flute and Orchestra, op. 112 Flute solo and orchestra Publisher: NB noter 1998 Sonata for Flutes and Piano, op. 21 Flute (or piccolo/flute/alto flute) and piano Publisher: Musikk-Husets forlag 1978 Suite for Flute and Piano Flute and piano Publisher: Norsk Musikforlag 1980

Mæhlum, Svein. Sonatina for Flute and Piano Flute and piano Publisher: NB noter Exact year of composition unknown

Marcussen, Kjell. Pastourell for Flute Solo Solo flute Publisher: Norsk Musikforlag 1987

Moland, Erik. 2 Fantasies for Flute Solo Solo flute Publisher: NB noter 1980/91

123 Mortensen, Finn. Five Studies for Flute Solo, op. 11 Solo flute Publisher: Norsk Musikforlag 1957 *Sonata for Flute Solo Solo flute Publisher: Norsk Musikforlag 1953

Nicotra, Alfredo. Salong-musikk I sonateform: 4 satser til undervising, op. 20, no. 1 Flute and piano Publisher: NB noter 1996

Nyhus, Rolf. Poem for Flute and Piano Flute (or violin) and piano Publishers: Norton/ Norsk Musikforlag 1986 Pastorale for fløyte og orgel Flute and organ Publisher: Musikk-Husets forlag 1999

Nystedt, Knut. En stjerne klar: En julevise for fløyte og klaver Flute (or violin) and piano Publisher: Norsk Musikforlag 1990

Olsen, Carl Gustav Sparre. Intermezzo, op. 45 Flute and piano Publisher: Norsk Musikforlag 1974 Intermezzo: from Serenade, op. 45 Flute solo and string orchestra Publisher: NRK (MS) 1979 *Poem for Flute and Piano, op. 11 Flute and piano No publisher information available Exact year of composition unknown *Serenade, op. 45 Flute and piano Publisher: Norsk Musikforlag

124 1979 *Serenade for Flute and String Orchestra, op. 45 Flute solo and string orchestra Publisher: Norsk Musikforlag 1957

Ørbeck, Anne-Marie. Pastorale e allegro Flute and piano Publisher: Norsk Musikforlag 1959

Østergaard, Edvin. Desiderata für Flöte Solo Solo flute Publisher: NB noter 1986/87

Østern, Per Hroar. Fire årstidsminatyrer: Årstidskvadrat i duoformat Flute and piano Publisher: Norsk Musikforlag 1991

Persen, John. For fløyte Solo flute Publisher: NB noter 1976

Plagge, Wolfgang. Elevazione, op. 21 Flute and organ Publisher: NB noter 1984/86

Rønnes, Robert. Deux petites liberatés : pour flûte grave en sol Solo alto flute Publisher: Robert Rønnes Publications 1977/78 For the Modern Picture Solo bass flute Publisher: NB noter 1977 Sonate pour flute et piano: A memoire Olivier Messiaen Flute and piano Publisher: NB noter 1989-92

125

Rypdal, Terje. Krystaller for altfløyte og lite orkester, op. 9 Alto flute solo and orchestra Publisher: NB noter 1973

Sæverud, Harald. Divertimento No. 1 per archi e flauto, op. 13 Flute solo and string orchestra Publisher: Norsk Musikforlag 1940

Samkopf, Kjell. Invention No. 2 for Flute and Organ Flute and organ Publisher: NB noter 1975

Schevikhoven, Henk van. Play I Solo flute Publisher: NB noter 1976

Skjelbred, Bjørn Bolstad. Breathe: for Flute and CD Flute and compact disc Publisher: NB noter 1999

Slettholm, Yngve. Air IV for Flute Solo Solo flute Publisher: NB noter 1993 Lux Solo flute Publisher: NB noter 1983 Possible selections Flute solo and orchestra Publisher: NB noter 1987-88

Sommerfeldt, Øistein. *Divertimento for Flute Solo, op. 9 Solo flute Publisher: Norsk Musikforlag 1960/1969

126 *Sonatina, op. 47 Solo treble recorder Publisher: Norsk Musikforlag 1977 *Vårlåter, op. 44 Solo flute Publisher: Norsk Musikforlag 1975

Stalheim, Jostein. L’histoire innocent: flauto traverso Solo flute Publisher: NB noter 1987

Sundbø, Geir. Rondeau pour flûte et piano, op. 5 Flute and piano Publisher: NB noter 1992

Thoresen, Lasse. Interplay, op. 11 Flute and piano Publisher: Pizzicato 1981 With an Open Hand or a Clenched Fist?, op. 6 Solo flute Publisher: Norsk Musikforlag 1976

Vaage, Knut. Fortuna Flute and piano Publisher: NB noter 1996

Vea, Ketil. Concertino for Flute Solo, Recitation, and Chamber Orchestra Flute solo, narrator, and orchestra Publisher: Norsk Musikforlag 1983

Vigulf, Roger. Sonate for Flute Solo flute Publisher: NB noter 1999

127 Volle, Bjarne. Fløytelåt Flute and piano Publisher: NB noter 1999

Waldejer, Erik. 8 sentenser for solo fløyte Solo flute Publisher: NB noter 1981

Wallin, Rolf. Depart Acting flutist and tape Publisher: Chester Music 1986

128