Geirr Tveitt

His parents were Håkonson Lars Tveit (1878–1951) and Johanna Nilsdotter Heradstveit (1882–1966).

His family were of farmer stock, and still retained Tveit, their ancestral land in Kvam – a secluded village on the scenic Hardangerfjord.

The Tveit family would relocate to Drammen in the winter to work, but return to Hardanger in the summer to farm.

Thus Tveitt enjoyed both a countryside existence and city life.

Tveitt had originally been christened Nils, but following his increasing interest in Norwegian heritage, he thought the name 'not Norwegian enough' and changed it to Geir.

He later added an extra r to his first name and an extra t to Tveit to indicate more clearly to non-Norwegians the desired pronunciation of his name.

It was during his childhood summers in Hardanger that Tveitt gained knowledge of the rich folk-music traditions of the area.

Historically, Hardanger's relative isolation allowed for the development of a unique musical culture, with which Tveitt became infatuated.

Tveitt was no child prodigy, but discovered that he possessed musical talent, and learned to play both the violin and the piano.

And, after having been encouraged by Norwegian composer Christian Sinding, Tveitt decided to try his hand at writing music.

Geirr Tveitt (born Nils Tveit; 19 October 1908 – 1 February 1981) was a Norwegian composer and pianist.

In 1928 Tveitt left Norway to be educated.

He headed for Germany – to Leipzig and its Conservatory, which had been the hub of European musical learning and culture for so long.

It was an intense time for Tveitt.

He studied composition with Hermann Grabner and Leopold Wenninger, and the piano with Otto Weinreich, making extraordinary progress in both fields.

The joy of learning from some of the best German educators of the time was often overshadowed by his almost chronic lack of funds – Tveitt having to rely upon translation work and donations to support himself.

The Norwegian composer David Monrad Johansen through the student years.

Perhaps it was the expatriation from Norway that kindled in Tveitt a strong desire to embrace completely his Norwegian heritage.

Tveitt's profound interest in the modal scales (which forms the basis of the folk-music of many countries) often tested Grabner's patience.

Tveitt was a central figure of the national movement in Norwegian cultural life during the 1930s.

Tveitt was born in Bergen, where his father briefly worked as a teacher.

However, the latter must have felt great pride when Tveitt had his 12 Two-part Inventions in Lydian, Dorian and Phrygian accepted for publishing by Breitkopf & Hartel in 1930.

The following year the Leipzig Radio Orchestra premiered Tveitt's first Piano Concerto – a composition that reflects Tveitt's search for an individual and Norwegian voice.

In 1932 Tveitt headed on to Paris.

Tveitt had become increasingly frustrated with the teaching in Leipzig, but found a new freedom & inspiration.

Here he obtained lessons from some of the greatest and most well-known composers of the times: Arthur Honegger and Heitor Villa-Lobos both agreed to see Tveitt.

He further managed to enroll in the classes of Nadia Boulanger.

Tveitt also made a visit to Vienna, where he was able to study for some time with Austrian composer Egon J. Wellesz, a former pupil of Arnold Schoenberg.

Tveitt made one last educational stopover in Paris in 1938 before heading home to Norway to work.

Compared to other Norwegian composers contemporary with Tveitt, he had perhaps the most diverse education – and he had already started to make a name for himself.

His writings and compositions made quite a stir amongst the establishment in Oslo.

In the years leading up to World War II, Tveitt derived most of his income working as music critic to Sjofartstidende (The Naval Times).

Tveitt's highly opinionated reviews contributed to his securing strong opponents – one of these were the Norwegian composer, Pauline Hall.

Tveitt focused his energies on composing.

As soon as the Second World War had ended, Tveitt brought his scores with him to Europe, touring extensively – often performing own piano works with similar works by other composers, i.e. Grieg and Chopin.

Many of the concerts were great personal and artistic successes for the Norwegian composer, and especially so the 1947 concert in Paris.

Here Tveitt premiered his Piano Sonatas nos 1 and 29, some of his adaptations of Hardanger Folk-Songs and also the Fourth Concerto for Piano and Orchestra – Aurora Borealis.

The piano concerto was performed in a two-piano version, Tveitt assisted by the French pianist Genevieve Joy.

According to reviews, the concerto had thrown the Parisian audience into a paroxysm of ecstasy.

Tveitt's intense, glittering, French-Impressionist flavoured rendition of the dancing and mystical northern winter sky, earned him the acclaim of his former teacher Nadia Boulanger in her following review.