Editing Geirr Tveitt (section)

===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.