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SeeN thrOugh DiffereNt eyeS:
A POrtrAit Of Ståle Kleiberg
N.M.O. 14210
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Copyright © 2018 by Norsk Musikforlag AS, Oslo www.musikkforlagene.no uten skriftlig tillatelse fra copyright-innehaveren er kopiering eller annen mangfoldiggjøring av denne bok, eller deler av denne, forbudt ved lov av 12. juni 1961 nr 2 OM OPPhAVSrett til åNDSVerK (åndsverkloven). Alle rechte vorbehalten. Wer Noten vervielfältigt (fotokopiert, nachdruckt), macht sich strafbar und wird zivil- und strafrechtlich verfolgt. Vervielfältigung, auch auszugsweise, nur mit ausdrücklicher genehmigung des Verlages. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, or otherwise, without the permission of the publisher. N.M.O. 14210 iSbN 978-82-7093-727-1 Photo cover: Vegard eggen grafisk produksjon/layout: Per-Morten halvorsen/ Oslo Sats, repro & Montasje A/S. www.osrm.dinstudio.no utgivelsen er støttet av Norsk Musikkforleggerforening
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CONteNtS Preface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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Silence and sounds Inna Novosad-Mæhlum . . . . . . . . . . . . . . . . . . . .
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Perception Ståle Kleiberg . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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1) glimpses into Ståle’s life and works – Inna Novosad-Mæhlum . . . . . . 11 — Childhood years: how it all started . . . . . . . . . . . . . . . . . . . . . . . . . 12 — the formative years . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 — leading up to the present . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28 2) Conversations with the Composer – Novosad-Mæhlum . . . . . . . . . . . 61 3) the interviews – inna Novosad . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81 • Ingebjørg Kleiberg . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82 • Hogne Kleiberg . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84 • Vegar Guleng . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88 • Jørgen Langdalen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95 • Eivind Gullberg Jensen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97 • Marianne Thorsen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100 • Jørgen Larsen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103 • Øyvind Gimse . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107 • Elisabeth Norberg-Schultz . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111 • Eirik Lodén . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115 • Ole-Einar Andersen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119 • Malcolm Bruno . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123 4) Kleiberg the Academic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133 insular or Cosmopolitan: David Monrad Johansen and Paris . . . . . . . . 134 Analyse av verket som kunstverk . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155
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5) Personal tributes (essays) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 169 Malcolm Bruno A personal greeting . . . . . . . . . . . . . . . . . . . . . . . . . . 170 – Music and Musicmaking/Composition and Composer . . . . . . . . . . . 171 Sven Hroar Klempe between Constraints and freedom . . . . . . . . . . . 188 – On Associations in Musical imagination Bjørn Kruse in All honesty . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 201 Eirik Lodén Ståle Kleiberg – As Colleague and Creator . . . . . . . . . . . . 206 Jim Samson David and bathsheba in Context . . . . . . . . . . . . . . . . . . . 234 Marcus Paus Kleiberg Variations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 246 Olaf Eggestad en mann fra den lyse årstid . . . . . . . . . . . . . . . . . . . . . 248 Anne Jorunn Kydland “brokker av mening” . . . . . . . . . . . . . . . . . . . . 262 – Møte med Ståle Kleiberg Petter Myhr en messe for det moderne menneske . . . . . . . . . . . . . . . . 266 Vivianne Sydnes “Ordenes kraft” . . . . . . . . . . . . . . . . . . . . . . . . . . . . 270 Helge Torvund å omsetja verda til tonar . . . . . . . . . . . . . . . . . . . . . . . 277 6) Discography Albums . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 280 Individual works . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 281 7) Kleiberg’s works: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 283 – Orchestral . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 284 – Oratorio & Opera . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 285 – Chamber & Solo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 286 – Choral . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 289 Short bios of the Authors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 291 tabula gratulatoria . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 295
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PrefACe A good friend and colleague of mine, eka Dvali, convinced me to take a master degree in musicology — specifically with Ståle, because she had loved taking her master with him. She suggested that i take his composition class. She succeeded, and i decided to give it a try. i did not recall the name of Ståle Kleiberg when i first came to his class, but the professor was talking about compositional techniques, and as an example he presented Dopo, giving us the score of the work to follow along. So i was listening and thinking how extremely beautiful it was; until that moment i could not conceive that contemporary music could possibly be so beautiful. by the end of the piece, everybody started clapping and cheering, and i got confused... i looked at the score and i read my class schedule, and i saw the name Ståle Kleiberg on both of them. right there and then i made the connection and realized that it’s the professor’s own piece that has affected me to such a degree. Next thing i know, i am to write a thesis. i only know i want to work with living composers, not dead ones. by now, Dopo has become my absolute favorite piece, so i ask Ståle if i can write my thesis about him and his music. As positive as he generally is, Ståle’s immediate reply is simply “yes.” however, i had to warn him. Since my approach would be psychological, it implied digging deep into his psyche. his reaction was a long, drawn-out, “ooookaaaay” — which, to my utter delight, quickly transformed into an affirmative, “OK,” meaning “i’m in.” My supervisor tried to make me see the importance of academic convention when writing a thesis, but somehow it didn’t seem to work. Once she even commented, in frustration, “what you actually want to do is not to write a thesis but a book on Ståle.” During the final phase of my collaboration with Ståle, lots of things had to be left out because of the thesis format. Cutting out much interesting stuff saddened both of us. then the thought came to me that we should find a way to leave it in; at that moment i also saw a vision of the book, entitled: “Seen through Different eyes: A Portrait of Ståle Kleiberg”, it would consist of his biography, interviews with him, as well as other people’s perspectives on him. i voiced this idea to Ståle, and he was initially positive. Nonetheless, it took
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him half a year to come around, as doubts and skepticism crept in. i suggested sending out invitations to people to make contributions, and they responded quickly and positively. fast-forwarding to the end: this is the result. this project has been a golden opportunity to get to know Ståle and his music better, and to meet lots of interesting people — probing great minds and collaborating with high caliber musicians. i want to heartily thank the composer’s friends, relatives, and associated artists, scholars and musicians, for their valuable contributions. their significant input — as well as that from the main person himself — not only gives a well-rounded presentation of Ståle Kleiberg, but also yields insights on the nature of artistic creativity, and offers fresh perspectives on life in general. i am so grateful for the entire experience.
Acknowledgments My heart is filled with gratitude towards many people who have supported and helped me throughout the process. My sincere thanks go to: • My georgian friend eka Dvali, for pushing me down the road that eventually led to this finished result. • Ståle, for having believed in me, and in the possibility of a successful completion of this project. • every single contributor to this project, for helping me see Ståle and his music from a variety of angles, and for enriching my understanding of the world of music, in so many ways. • the publisher, unni boretti, for helping me feel qualified and equal to the demands of the project. • My irish friend and former supervisor, professor of 19th century American literature, Domhnall Mitchell, for valuable advice and much-appreciated encouragement. • My American friend Alison Sippel Krill, for having helped me enormously with the editing and proofreading. Our moments of hysterical laughter will always be cherished. • My family, above all, for their understanding, patience and support — and for their love and faith in me, which i could not have done without. finally, i do thank god for putting all these ideas in my head and all these people in my life.
Inna Novosad-Mæhlum