An Introduction to the Organ Works of Kjell Mørk Karlsen by James D

Home , Oslo Cathedral, Oslo Philharmonic, Stavanger Cathedral

Contemporary organ repertoire

An introduction to the organ works of Kjell Mørk Karlsen By James D. Hicks

lessed with a natural environment of Bstunning, rugged beauty and a culture rich in poetic expression, Norway is also celebrated for its musical heritage. A country that could produce a composer of the stature of Edvard Grieg can also claim composers who have made a signifi cant contribution to the repertoire for the organ. A vibrant school of new music fl ourishes in Norway, and the Oslo-based composer Kjell Mørk Karlsen has fash- ioned a diverse and notable body of work over the course of a distinguished career. Karlsen is a prolifi c artist whose output includes ten orchestral symphonies and eleven oratorios, along with numerous cantatas, concertos, and chamber music. Creating new music for the organ has been an ongoing feature of his endeav- ors, and I recently had an opportunity to discuss this fascinating topic with Kjell Mørk Karlsen Karlsen, about 12 years old, playing oboe Karlsen at the organ in Asker church the composer while on a concert tour in Scandinavia. All of the information baroque recorder. As a child he studied to 1973. Karlsen pursued independent –play (on average) six to eight wed- in this article stems from an interview I this instrument so seriously that he even- study with the noted Danish organist dings per weekend conducted with the composer in Stock- tually took a diploma in recorder from Finn Viderø and spent the academic –conduct oratorio performances holm, Sweden, on October 10, 2014. the Oslo Conservatory at age twenty-one. year 1980–81 commuting to Copenha- –serve as organ consultant for the Raised in a home “fi lled with music,” At age eleven, Kjell’s brother, an aspiring gen for lessons. The study of Bach and region. the Oslo-bred composer was born into a fl utist, suggested that Kjell take up the Buxtehude was the focus of his work Parallel to his work in what was an family of artists in 1947. Considering the oboe as the two instruments might sound with Viderø, and Karlsen remembers intense and varied career in performance, many creative gifts of his family, it was a well together. Kjell’s education in oboe Viderø’s emphasis on “lively, rhythmic Karlsen’s abilities as a composer became natural choice for Kjell Mørk Karlsen to progressed quickly; he studied with the playing and detached touch.” equally known throughout northern follow the path of a professional musi- principal oboist of the Oslo Philharmonic. Given Karlsen’s long experience with Europe. His training in composition dates cian. Although his mother was a fi ne Karlsen’s affi nity for the oboe made it an the baroque recorder and his father’s to his formative years, complementing his violinist and his brother an enthusiastic important means of expression during his enthusiasm for early music, it seemed accomplishments as a gifted instrumen- fl utist, it was his father, Rolf Karlsen, student years. He earned a diploma in like a natural progression for Kjell to talist and performer. While he was a teen- who provided the impetus for a career oboe from the Oslo Conservatory during organize an ensemble dedicated to ager, Karlsen’s father gave him an ongoing in music. The elder Karlsen (1911–82) the same year as he did with the recorder historically informed performances of assignment. At this time during the 1960s, was an essential fi gure in the musical life and became profi cient enough to be this repertoire. Karlsen formed his own the Norwegian National Church discour- of twentieth-century Norway. A brilliant an oboist with the Norwegian National group, Pro Musica Antiqua, and served aged the singing of repertoire from the pianist, organist, conductor, and com- Opera Orchestra. His experience with as its fi rst director from 1969 to 1974. Reformation and Baroque periods in poser, Rolf Karlsen served as organist and the orchestra gave him insight into the Playing a wide variety of instruments, Latin or German, preferring Norwegian director of music at Oslo Cathedral. Rolf creation and performance of dramatic including krummhorns, shawms, and translations instead of the original texts. also taught at the Oslo Music Conserva- music. Working within an orchestral recorders, Karlsen did much to intro- Kjell’s task, beginning at age fourteen, tory and worked as a keyboard musician milieu was a formative experience in duce the unique sounds of the medieval was to copy by hand full scores by such with the Oslo Philharmonic Orchestra. preparation for the composing of the and Renaissance repertoire to Norwe- composers as Scheidt, Praetorius, and Rolf was recognized as a master sight- large-scale works of his maturity. gian audiences. Schütz, and set Norwegian words in place reader, able to condense and realize the After witnessing his father conduct Karlsen’s diverse musical activities of the languages these composers origi- contents of the most complex orchestral a performance of J. S. Bach’s St. Mat- caught the attention of Norwegian uni- nally used. Kjell continued this laborious scores on a moment’s notice. He was, in thew Passion, the younger Karlsen was versities and the national church. He process of copying music by hand as he addition, a pioneer in introducing music so moved by this presentation to begin began his academic career during the progressed to editing his father’s original from the Middle Ages, Renaissance, and study of keyboard instruments as a logi- 1970s, lecturing at the Oslo Conserva- scores, producing fi nal copies for publica- Baroque periods to the cultural life of cal next step. As with the recorder and tory, the Norwegian Academy of Music, tion. As the composer recollects, “This Norway, having studied medieval music oboe, Kjell’s rapid profi ciency with the and the Rogaland Music Conservatory. As for me was a great school as a composer in Belgium and harpsichord in Basel, piano and organ was astounding. By age his career unfolded, Karlsen also found because I came very close to all sorts of Switzerland. Rolf Karlsen was a leading nineteen he became keyboard musician success as a church musician. He served techniques that were used in this era. For member of Musica Sacra, a movement with the Oslo Philharmonic and gained as organist at Tønsberg Cathedral from a composer, this exercise was a basic way that strove to restore the primacy of additional ensemble performance to 1973 to 1978, Stavanger Cathedral from to become acquainted with polyphony, chant within the liturgy, reintroduce complement his work as an oboist. 1978 to 1981, Sør-Fron, Gudbrandsdalen harmony, how to set texts, and so on.” the chorale heritage from the Reforma- Karlsen points to the crucial experience from 1981 to 1989, Slemmestad Kirke During Karlsen’s time as a cathedral tion, support new works based upon this position afforded him in his later from 1990 to 1995, and Asker Kirke from musician in the 1970s, he created a large these ancient themes, and encourage development as a composer. He particu- 1995 to 2011. During this period, he was body of organ and choral works that the building of organs infl uenced by the larly cites the opportunity of performing active as a concert organist, performing were intended for use within the many Orgelbewegung (Organ Reform Move- works by Stravinsky, Bartók, and other throughout Norway, Sweden, Denmark, events he supervised. The infl uence of ment). Karlsen’s compositions show a twentieth-century masters as a signifi - and the Netherlands. the German neo-classicists from earlier preference for the use of historical forms, cant aspect of his education. These per- Karlsen summarizes his duties in the twentieth century, such compos- and his organ variations on Vår Gud han formances provided an opportunity to as cathedral organist at Stavanger ers as Hans Friedrich Micheelsen, Hugo er så fast en borg (A Mighty Fortress Is learn about American music as well; he Cathedral: Distler, and Helmut Bornfeld, pervades Our God) is a representative example of participated in several concerts devoted –play one hundred services annually the many hymn-based partitas and other his style (found in Tibi Laus, published to the works of Lukas Foss. Karlsen –direct four choirs (adult Oratorio works of this time. The consistent use by Norsk Musikforlag, N.B.O 9599). eventually took a diploma in organ from Choir, Boys Choir, Girls Choir, Chil- of quartal and quintal harmonies and The versatility that informed Rolf’s the Oslo Conservatory in 1968, serving dren’s Choir) preference for the use of traditional career served as a role model to his son as organist for the Sølvguttene (Nor- –play the cathedral carillon daily for forms were recurring features of many Kjell. Kjell’s musical studies began at wegian Broadcasting Boy’s Choir) and twenty minutes of these compositions. A typical example age seven when his father bought him a at the Greverud, Oppegård from 1967 –play weekly Saturday organ concerts of Karlsen’s early period may be found

WWW.THEDIAPASON.COM THE DIAPASON ■ AUGUST 2015 ■ 23 Contemporary organ repertoire

Example 1. Toccata, mm. 1–6 (Partita Over Koralen ‘Nu Kjære Menige Kristenhet,’ op. 8)

Example 3. Toccata Over Te Deum, mm. 116–120 (Orgelmesse over gregorianske melodier, op. 51, no. 1)

Example 2. Ostinato, fi rst two lines (Partita: ‘Se solens skjønne lys og prakt,’ op. 20, Example 4. Molto adagio e espressivo, mm. 1–6 (Orgelsymfoni nr. 1, op. 99) no. 2) in a work dating from 1969 (Example musical expression that often existed of the church, the act of composing may be discerned in this composition’s 1), Partita Over Koralen ‘Nu Kjære outside the relatively narrow confi nes took on a different frame of reference second movement (Example 4). The Menige Kristenhet,’ op. 8 (best known of music for the Lutheran Church. It for this musician. As Karlsen explained, composer explains: “If you look at the to English-speaking musicians as “Dear was at this juncture that he began to “Kokkonen taught me to think more fi rst six measures of the second move- Christians, One And All, Rejoice”). study the works of the Finnish composer symphonically. Whereas my earlier ment, you will fi nd all twelve tones in Karlsen’s interpretation of gebrauchs- Joonas Kokkonen. On the encourage- style had been oriented toward Ger- the left hand. I am not, however, so strict musik, or music for practical use, ment of colleagues in the Norwegian man neo-classicism and church music, with this system. It might be more accu- informs much of his output from the State Academy of Music and funded now I learned more about Sibelius and rate to call this a kind of free-tonal style.” 1970s. An excerpt (Example 2) from his by the Norwegian government, Karlsen Russian composers such as Shostakovich As the 1990s progressed, the austerity Partita: ‘Se solens skønne lys og prakt’ uprooted his family and career, moving and others.” The years of the 1980s and found in much of the music of Estonian (“See The Sun’s Beautiful Light And to Helsinki for a year’s sabbatical of study 1990s eventually saw the composer move composer Arvo Pärt provided a balance to Splendor”) demonstrates Karlsen’s wish with Kokkonen. Karlsen spent the bet- away from primarily providing “practical the complexity of Karlsen’s mature works. to provide accessible music, and, as he ter part of 1983–84 studying the Nordic music for immediate use” and, instead, Karlsen points to his St. John Passion has described, “these sort of composi- symphonic tradition with the Finnish creating large-scale works that achieved (1991) as an example of this reconcilia- tions come from my duties as a cathedral master. The result of this experience saw an enhanced formal and thematic unity. tion between contemporary and more organist.” The late 1970s also witnessed the inclusion of serial techniques within The composer thinks this development traditional means of expression. This the composer’s increased preoccupa- his larger-scale compositions. It was dur- brought him back “full circle when feeling of, as he describes it, “going back tion with the possibilities inherent in ing this period that Karlsen wrote his remembering the symphonic perform- and forth, two steps forward and one step Gregorian themes (Example 3) in which fi rst three orchestral symphonies and a ing experiences of my youth.” Following back,” is in an ongoing tension between motives from the chant permeate the host of chamber and symphonic works, Karlsen’s Finnish sojourn, his composi- simplicity and complexity that has char- entire fabric of the work as seen in op. including string quartets, concertos, and tions became more ambitious in length acterized his works to the present. 51’s Toccata Over Te Deum. sonatas for diverse orchestral instru- and scope. “My fi rst great organ work When evaluating the mature style of By the early 1980s and after years of ments. Karlsen regards this period of was the Symphony I, op. 99, commis- Kjell Mørk Karlsen, perhaps the most coping with an increasingly demand- work with Kokonnen and the immediate sioned by Stavanger Cathedral in 1991 salient aspect of his work is the composing schedule, Karlsen yearned for the years following as “the turning point of on the occasion of the installation of er’s increasing identity as a specifi cally opportunity to further explore his inter- my life.” a new organ. I had already composed Nordic composer. Possessing a keen est in then-current styles of contempo- Abandoning the pattern of creating three orchestral symphonies, so why not appreciation for the history and folk rary music. He became fascinated with scores for immediate use in the service one for the organ?” culture of his country and other Nordic After a decade of writing little for the lands, Karlsen has infused many of his organ, Karlsen’s new direction became works with the unique characteristics The right readily apparent in this three-movement, of Scandinavian music. The Sinfonia seventeen-minute work. A new sense Arctandriae-Orgelsymfoni nr. 2 (Icelan- organ at the of harmonic astringency, and a more dic Symphony) begins with the use of evolved, virtuosic approach to the instru- Tvisöngur, a type of Icelandic folk music right price ment distinguishes his op. 99. Karlsen’s sung in parallel fi fths (Example 5). All We’ll help you chRRse from rather personal approach to serialism of the titles of this work are connected the hundreds of vintage organs with the traditions of medieval Iceland. available through our website. The infl uence of Nordic folk tradition is THE WANAMAKER ORGAN apparent in the Suite for orgel og spele- We can deliver it to the mennslag (Suite for organ and folk music organ builder of your choice Listen to it worldwide violins), op. 89 (Example 6); the third or refurbish, revoice, and movement develops motives from Har- install it ourselves. over the Internet! danger fi ddle music. Norwegian medi- Hourlong streamcasts eval folk ballads (Draumkvedet or The “In choosing OCH, I know that the work has been done Dream Song) serve as the inspiration with the utmost knowledge, enthusiasm, care and integrity.” are featured at 5pm ET of Sinfonia Norvegica (Symphony IV). David Enlow, Sub-Dean, NYCAGO Example 7 shows Karlsen’s depiction of the first Sunday of the ballade text (“The moon it shines, Organ Clearing House each month at wrti.org and the roads do stretch so wide”) by the www.organclearinghouse.com or call John Bishop at 617-688-9290 weighting of three upper-range tones to depict the ever-shining moonlight.

24 ■ THE DIAPASON ■ AUGUST 2015 WWW.THEDIAPASON.COM Example 5. Tvisöngur, fi rst two lines (Sinfonia Arctandriae, op. 105)

Example 6. Springleik, mm. 25–28 (Suite for orgel og spelemannslag, op. 89)

A crucial aspect of Karlsen’s identity as Compositions of Kjell Mørk Karlsen a Nordic composer is his ongoing devo- All works published by Norsk Musik- tion to the cult of the Norwegian medi- forlag a/s, except as noted eval saint, St. Olav. His newest major work for organ, the epic fi ve-movement Works for organ with instruments Example 7. Capriccio, p. 17, line 1 (Sinfonia Norvegica, op. 157) Sinfonia Grande, op. 170 (2013), derives Opus its themes from the chants associated 7.2 Short Chorale Partita for alto recorder Works for organ (1967–2014) with the St. Olav liturgy. When asked and harpsichord (organ), 1975 Opus about the relationship between his music 7.3 Partita on a folk tune from Lom (Nor- 2 Ten chorale preludes, Book 1, 1967; and the cult of St. Olav, Karlsen relates: way) for fl ute and organ (piano), 1981 Book 2, 1969 (Lyches Musikkforlag) 7.4 Sonatine on a folk tune from Etne 8 Partita Over Koralen ‘Nu kjære menige All Norwegians know about St. Olav. (Norway) for fl ute and piano (organ), kristenhet,’ 1969 When I was young and played the oboe, every summer I traveled to the Nidaros 1991 14 Magnifi cat noni toni (with liturgic Cathedral in Trondheim. Every year I 13.1 Choralsonata no. 1 ‘Jesus Christus, song ad lib.), 1969 played in the performance of an oratorio unser Heiland’ for alto recorder (fl ute) 20.1 Six partitas on Norwegian folk composed and conducted by the cathe- and harpsichord (organ), 1969 tunes, 1968–71 dral organist Ludvig Nielsen that used the melodies of the St. Olav liturgy. These 13.2 Choralsonata no. 2 ‘Aus tiefer Not 20.2 Four organ partitas on Norwegian melodies, therefore, have been with me a schrei ich zu dir’ for cello (bassoon) religious folk tunes, 1974–78 long time. The St. Olav liturgical music is and harpsichord (organ), 1971 26 Variations on an organ tablature from the only medieval Norwegian chant in Gre- 13.3 Choralsonata no. 3 ‘Nun freut euch, 1448, 1973 James D. HIcks in Västerås Cathedral, gorian style that we know today. I tried to Västerås, Sweden infuse the timeless qualities of this music lieben Christen g’mein’ for trumpet 33 Te Deum for organ, 1975 within my new Sinfonia Grande. and organ, 1972 43 Twenty-one easy preludes on Norwe- 28 Concerto for organ, 9 brass instru- gian folk tunes, 1977 134b Organ meditations for Good Fri- Kjell Mørk Karlsen remains prolifi c ments, and percussion, 1973/86 47 Twelve improvisations on Gregorian day, 2013 (Cantando Musikkforlag) in his output. The year 2015 fi nds him 28B Version for organ and symphonic melodies, 1972–80 142.2 In nativitatem Domini,’ 7 Organ working on his next major project, a sym- band, 1973/86 (manuscript only, at the 51.1 Organ Mass on Gregorian melodies, Meditations, 2005 phony for organ, strings, and bells (the National Library of Norway, Oslo) 1977–82 143 Sonata ‘De profundis,’ 2003 latter requiring fi ve players, employing 35.1 4 Norwegian folk tunes arranged for 51.2 Mass on Norwegian folk tunes, 1979 148 ‘Et lite barn så lystelig,’ Christmas handbells, chimes, glockenspiels, and violin, cello, and organ, 1976 (Norske (with brass sextet, ad.lib.) music on Norwegian folk tunes, 2005 related instruments) being composed for Komponisters Forlag) 81 Six pieces for organ, 1973–87 155 Offenbarungs-Meditationen, Åpen- the intended 2017 installation of a new 36.1 3 choral intradas for organ and 99 Organ Symphony No. 1, 1991 baringmeditasjoner für Orgel, 2006 organ at the northern Norwegian cathe- 4 brass instruments (2 trumpets, 2 105 Sinfonia Arctandria (Organ Sym- 157 Sinfonia Norvegica (Organ Sym- dral at Tromsø. He is also working on trombones, or 2 trumpets, horn, and phony No. 2), 1991/93 phony No. 4), 2007 an a cappella setting of the St. Matthew trombone), 1975 116 Sinfonia Antiqua (Organ Symphony 167 Luther Mass for organ, 2011 (with Passion, a project that will complete his 36.2 “Intrata festivo” for organ, 4 trum- No. 3), 1996 liturgic song, ad lib.) setting of the four gospel accounts. pets, and timpani, 2009 (manuscript 121 Christus-Meditationen für Orgel, 1997 171 Sinfonia Grande (Organ Symphony Kjell Mørk Karlsen concludes: only, at the National Library of Nor- 124 ‘Esto mihi’–6 liturgic organ pieces, No. 5), 2014 way, Oslo) 1998 (Cantando Musikkforlag) 171. 2 Toccata grande II, 2014 It is important for me to bring elements 51.2 Mass on Norwegian folktunes for from the entirety of music history into my work. I have such a profound respect for organ and 6 brass instruments, ad. lib., my predecessors, and wish to be remem- 1979 bered as following in their footsteps. For 87 Missa da tromba for trumpet and me contemporary music can be modern or organ, 1988 it can be conservative. What is important is that it be personal and have an individual 89 Suite for organ and folk-music violins, spirit. Without this, it is nothing. ■ 1992 94 Sonata da chiesa per tromba et James D. Hicks holds degrees in music organo, 1989 (Noton) from the Peabody Institute of Music, 129 “Triptykon” for organ and 3 percus- Yale University, and the University of sion players (33 percussion instru- Cincinnati, has studied at the Royal ments), 1999 (manuscript only, at the School of Church Music in England, National Library of Norway, Oslo) and is an Associate of the American 161 “Concerto pour Orgue et Cordes,” Guild of Organists. He has held positions 2008 (manuscript only, at the National throughout the eastern United States and Library of Norway, Oslo) in 2011 retired from a 26-year tenure 164 Liturgic suite for organ and ten brass at the Presbyterian Church in Mor- instruments, 2010 We are working in your area, how can we help you? ristown, New Jersey. He has performed 164B Miserere (Sarabande) for trumpet throughout the United States, Australia, and organ (from Liturgic Suite) and Europe. James Hicks has recorded 176 “Hymn for St. Olaf” for violin, oboe, several collections of organ music on the and organ, 2014 (manuscript only, at Pro Organo label. the National Library of Norway, Oslo)