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Marianne Beate Kielland

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Marianne Beate Kielland Marianne Beate Kielland – mezzo-soprano Nils Anders Mortensen – piano Eivind Groven Folkemusikk alle tonearter samt gjenskape skalaer som opptrer av slåttemusikken er strukturert etter, videreførte Sanger Det eksisterer ca. 2000 nedskrifter av vokal og i folkemusikk. Samtidig ville han beholde et vanlig han i symfoniske verker. Allerede i de tidlige san- instrumental folkemusikk fra Grovens hånd. Hans spillebord. Hans enestående oppfinnelse var en gene, slik som «Moen» (fremført på hans første refleksjoner over hvilken transkripsjonspraksis tonevalgautomat som styres av impulser direkte komposisjonsaften senhøstes 1926) finner vi ek- som best kunne gjengi folkemusikkens særegne fra tangentene og «stemmer om» instrumentet sempler på Grovens særegne klangbilde. Det han intervaller, rytmiske strukturer og form, er inter- under spillets gang. Sammen med Ragnar Bog- selv kalte «altererte tonerekkjur», er en form for Forankret og fremadskuende essante og forskningsmessig oppdaterte. Gro- stad bygde han Norges første elektroniske orgel, utvidet tonalitet skapt med modale midler og to- Selv om gården Eivind Groven (1901–77) vokste vens transkripsjoner av Helge Ingstads lydopptak med 43-deling i oktaven. nemateriale fra øvre del av overtonerekken. opp på i Vest-Telemark, lå avsides til, var den ikke (1949–50) fra Nunamiut, Alaska, er et pionerar- isolert kulturelt og sosialt sett. Folkemusikken var beid i etnomusikologisk litteratur. Han betraktet Grovens praktiske og teoretiske befatning med Sangene en del av dagliglivet og hadde vært det i genera- selv disse eskimomelodiene som et bidrag til renstemmingsproblematikken vakte internasjo- Mange av Grovens komposisjoner er sprunget ut sjoner bakover. Før Groven var 15 år, spilte han «verdensmusikken» – lenge før begrepet «world nal interesse. Gjennom brev og besøk hadde han av diktning og vitner om dyp litterær forståelse. over 200 slåtter på hardingfele og komponerte music» var introdusert. årelang kontakt med utenlandske komponister, Opuslisten viser til korsanger, romanser, orkester- også for dette instrumentet. Han utdannet seg til musikkforskere og musikere. Da Albert Schweit- verker med innslag av soli og kor samt ren instru- lærer og slo seg ned i Oslo. Møtet med hovedsta- Groven la grunnlaget for folkemusikkarkivet i zer mottok Nobels fredspris i 1954, besøkte han mentalmusikk. Ustrofiske lyriske tekster resulterte den ga nye impulser. Selvstudium, undervisning Norsk rikskringkasting (NRK). Her gikk han inn for Trefoldighetskirken i Oslo for å spille Bach på det gjerne i gjennomkomponerte, ofte fritt pulse- ved musikkonservatoriet, konsertbesøk, samtaler å skaffe moderne opptaksutstyr av høy kvalitet, renstemte pipeorgelet som da sto der. Han ga rende sanger, med melodi lagt tett opp til språk- med kolleger ga innsikt, fremkalte refleksjoner og han formidlet gjennom mange radioprogram varm anerkjennelse. I et brev til Groven skrev den rytmen. Groven la vinn på å forme akkompagne- og virket kunstnerisk forløsende. Perspektivet sitt kjennskap til norsk og utenlandsk folkemusikk. amerikanske fiolinisten Camilla Wicks: «This work is mentet til et sluttet hele, selvstendig i forhold til ble ytterligere utvidet gjennom et kort opphold i Den art samspill som Groven praktiserte gjennom the greatest ‘break-through’ in reproducing music melodistemmen. Komposisjonene kan opptre for Tyskland hvor han våren 1936 studerte orgler med Hardingfeletrioen (1932, sammen med Alfred since the invention of recording sound». Hun hadde ulike besetninger, som sang med klaver, sang med andre stemmemåter enn den 12-tempererte. Maurstad og Sigbjørn Bernhoft Osa), bærer fruk- hørt opptak med det renstemte orgelet fra en de- orkester, damekor, mannskor, blandet kor. Især ter i vår tid. monstrasjonsplate Groven fikk laget og distribuert. komponerte Groven til tekster av Henrik Werge- Som komponist, folketoneinnsamler og vitenskaps- land (1808–45), Hans E. Kinck (1865–1926) og In- mann fungerte Groven som brobygger mellom Akustikk Komposisjoner geborg Refling Hagen (1895–1989). Felles for de norsk by- og bygdekultur. Samtidig var han del Eksperimenter og innovasjon preget Grovens liv. Flere av mellomkrigstidens komponister ønsket tre er billedrik diktning der lengtende, såre, skjøre av en større europeisk strømning. Folkemusikk- Med sin bakgrunn i folkemusikk oppfattet han å skape en ny nasjonal musikk ved å forene ele- sinn og sterke følelser, ofte innestengte, speiles transkripsjonene representerer noe av det yp- tidlig at det på klaver og andre tasteinstrumen- menter fra autentisk norsk folkemusikk med nye gjennom naturskildringer. perste Norge har av nedtegnelser. Kunnskapene ter er umulig å få alle samklanger i alle tonearter komposisjonsteknikker. I 1920-årene følte Groven han tilegnet seg innen akustikk, resulterte i ny- rene samtidig når bare 12 toner i oktaven står at musikken trengte andre harmoniske «akser». «Præriekonens bånsull» (1934) fra Refling Hagens brottsarbeidet han nedla i utviklingen av de ren- til rådighet. Groven konstruerte flere renstemte Folkemusikkens univers av tonehøyder influerte første diktsamling, salgssuksessen Je vil hematt, stemte orglene. Som komponist bidro han til musi- orgler med minimum 36 tonemuligheter i okta- på valg av akkordsystemer, og det egenartede kan stå som eksempel på komponistens vare for- kalsk fornyelse på det klanglige og formale område. ven. Målet var å gjengi akustisk rene intervaller i asymmetriske knoppskytingsprinsippet som mye midling av en tekst. Diktet avdekker hvordan emi- grantens lengsel og håp om å komme tilbake til Bryllupet i Genua viser kjærlighetens kår i en svi- lysningsskriftet Wergeland for det meste skrev Morgenposten 7.10.1961). Ved hans død foretok hjemlandet stadig får næring, men aldri innfris, en kefull virkelighet, jf. «Veronica’s bøn»: «Se i naade selv, dertil redigerte og distribuerte. Magne Hegdal nærmest en musikkhistorisk om- grunnstemning musikken tar vare på. ned til alle sind, som elsker paa den onde jord». plassering. Han sier at det som var blitt oppfattet Musikken kom til i 1926 da Ingeborg Refling Ha- Geirr Tveitt karakteriserte Grovens akkordbruk, som «provinsielt», skulle vise seg å bli ytterst «ak- Ingeborg Refling Hagen, Grovens svigerinne, gen tok initiativ til å sette opp dramaet med en- melodikk og skifte av skalagrunnlag som origi- tuelt» (Dagbladet 10.2.1977). Klaus Egge hevdet oppfattet i 1920-årene at den unge komponisten semblet De unge. Mens Groven skrev, hørte og nal, «grovensk»: En folkelig sangteknikk (bruk av at Groven kom vassende rett opp fra kildene og ønsket seg tekster å skape musikk til. Hun skrev tenkte han orkestralt og utformet scenemusikk forslag) setter ofte sitt preg på melodien; samti- utforsket deres muligheter. Geirr Tveitt sa at Gro- ned utsnitt fra Hans E. Kincks diktning og ga ham. i tre akter. De sju utdragene som foreligger for dig går han sine egne veier, især i harmonikken. vens inngående kjennskap til folkemusikk gjorde Lyriske passasjer i romaner resulterte i sanger som sang og klaver, var med under hans første kom- Som eksempel på dette viser Tveitt til Grovens ham fri i forhold til sin herkomst. Arne Nordheim «Moen», 1926 (fra Sus / første del av Hermann Ek), posisjonskveld i 1926, men kun to av sangene ble behandling av Wergelands «Barnekammer-Jule- oppfattet Groven som en avantgardist i sin tid for- «Du maa lyse», 1926 (fra Presten) og «Jeg vil va’», trykt i Grovens levetid (på eget forlag). Mest kjent vise», «Moderens Korstegn over Barnet» (1930). di han ikke laget «garnityr over folkemusikken», 1928 (fra Doktor Gabriel Jahr). Men især inspi- i ettertid er et utsnitt fra musikken til andre akt, Tveitt er opptatt av Grovens hyppige bruk av men hadde folkemusikken som hjemstavn (NRK, rerte dramaene, f.eks. Driftekaren og Bryllupet i senere skrevet ut av Groven for fløyte og klaver/ sekstakkorder: «Serenade» (1934) fra dramaet 1.11.1978). For Groven selv var valgene i livet be- Genua. Groven opplevde at han umiddelbart hør- orkester under tittelen Solstemning. Venetianerne eller Venskab og Kjærlighed åpner stemt av autentisitet: akustiske realiteter, idioma- te melodier når han leste Kincks diktning. Fra ti- med tre septimakkorder som oppløses i tonika tiske stiltrekk innenfor folkemusikk, samt spørsmål den som gardist (1923–24) forteller han: «Med eg Også Henrik Wergelands fantasirike poesi inspi- som sekstakkord, Grovens typiske valg av ak- om et kunstnerisk «være» eller «ikke-være». gjekk slottsvakt, midt på notti, kom ‘Hun var bare rerte Groven. I sin nekrolog etter Grovens død kordformasjon. seksten’ [fullført 1928, fra Driftekaren]. Teksten var mintes Johan Kvandal at Groven og hustru Ragna notera under notelinene. Eg venta berre på å få kom på besøk til hans foreldrehjem og brakte Samtlige romanser av Groven får ikke plass på Anne Jorunn Kydland tid te laga melodiane. Og no sette eg byrsa frå med seg nye tonesettinger til noe av det mest denne innspillingen, men hans aller første og et meg mot skilderhuset og skreiv ned.» Fra samme lysende i norsk lyrikk, Wergelands dikt fra døds- par av de siste er med. «Tøvær» og «Natt» (trykt drama er sangene «Aa, saa rødblond» (1926) og leiet: «Fru Groven sang og han spilte – inntryk- 1926), med tekst av en medelev fra lærerskolen, «Men en kveld» (1929) hentet. «Bols vise», «Vaar ket var spontant sterkt og uforglemmelig. Intui- Herbrand Underberget (1902–71), innledet Gro- og elsk» og «Marssol» er uten akkompagnement tivt hadde Groven her grepet det opphøyede og vens før nevnte komposisjonsaften i 1926. Den og fins bare som
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