Editing Geirr Tveitt (section)

==Music==

===Stylistic origins===
Geirr Tveitt's compositions are characterized by their [[Eclecticism|eclectic]] influences, drawing inspiration from a diverse range of musical styles and traditions. His works prominently feature the aggressive energy found in the early ballets of [[Igor Stravinsky]], as well as the distinctive rhythms and textures reminiscent of [[Béla Bartók]]. Additionally, Tveitt's music often incorporates the ethereal and mystic qualities of [[Claude Debussy]] and [[Maurice Ravel]], all the while rooted in motifs derived from Norwegian folk music. Unfortunately, a significant portion of Tveitt's oeuvre has not been published or systematically archived, a situation that was further exacerbated by a fire in 1970. In an effort to salvage his works, Tveitt undertook visits to various universities across Norway and reached out to friends in search of any surviving copies or parts of his compositions, although these efforts yielded limited results. Over time, however, several of Tveitt's scores have been rediscovered; some have been reconstructed from orchestral parts, as well as from radio broadcasts and magnetic tape recordings.<ref>[http://www.mic.no/nmi.nsf/doc/art2006053014524917609521 ''Tveitt, Geirr'' (ballade.no)]</ref>

===Hardanger folk music===
Tveitt's perhaps greatest musical project was the collection and adaptation of traditional folk melodies from the [[Hardanger]] district. Many composers and musicologists (including Norway's internationally recognised [[Edvard Grieg]]) had successfully researched and collected the music of Hardanger long before Tveitt. However, from 1940 onwards, when Tveitt settled permanently in Hardanger, he became one of the locals, and spent much time working and playing with folk-musicians. He thus happened upon a treasure of unknown tunes, claiming to have discovered almost one thousand melodies, and incorporated one hundred of these into his work list; ''Fifty folktunes from Hardanger for piano'' op. 150, and ''[[A Hundred Hardanger Tunes]]'' op. 151. Musicologist David Gallagher might speak for many when he suggests that in these two opuses – their universe, music and history – are found the very best of Tveitt's qualities as a composer. The tunes reflect both profound (in fact) Christian values and a parallel universe dominated by the mysticism of nature itself and not only the worldly, but also nether worldly creatures that inhabit it – according to traditional folklore. The major part of the tunes is directly concerned with Hardanger life, which Tveitt was a part of. In his adaptations, therefore, he sought to bring forth not only the melody itself, but also the atmosphere, mood and scenery in which it belonged. Tveitt utilised his profound knowledge of traditional and avant-garde use of harmony and instruments when he scored the tunes – achieving an individual and recognisable texture. Copies of the piano versions and orchestral suites nos 1, 2, 4 and 5 were elsewhere during that tragic fire in 1970, so these works survive. Norwegian musicologists hope that suite nos 3 and 6 might be restored from the burned-out remnants held at the archives in Oslo.

===Legacy in Norway===
Tveitt's works remained largely misunderstood and unappreciated by his contemporary Norwegian musical establishment. However, Tveitt won the hearts of a whole nation with his radio programmes on folk music at the Norwegian National Broadcasting (NRK) in the 1960s and '70s. Tveitt worked as Assistant Producer to the radio, where he also premiered numerous songs written to texts by respected and well-known Norwegian poets like [[Knut Hamsun]], [[Arnulf Overland]], [[Aslaug Vaa]] and [[Herman Wildenvey]]. Many Norwegians remember perhaps Tveitt most fondly for his tune to [[Aslaug Låstad Lygre]]'s poem ''We should not sleep in summer nights''. In 1980 Tveitt was awarded the Lindeman prize for the work he had done through the NRK. He also set songs by [[Aslaug Vaa]] and [[Olav H. Hauge]].