Eivind Groven
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Eivind Groven (October 8, 1901–February 8, 1977) was a Norwegian microtonal composer and music-theorist. He was from the fylke (province or county) of Telemark in southern Norway and had his background in the folk music of the area.
Groven was from a gifted family of musicians and artists, prominent in his home area. His father, Olav Aasmundsson Gøytil, was the youngest of eight siblings, and two of his father's brothers played the hardanger fiddle. His mother, Aslaug Rikardsdotter Berge, was the youngest daughter of Rikard Aslaksson Berge, known for preserving a great amount of old tunes, religious songs and dance-tunes. Two of Groven's maternal uncles also played the hardanger fiddle, and his mother's sisters, as well as Aslaug herself, were gifted folk singers. Thus, Groven's rural background was filled with traditional music.
Groven was the youngest of five brothers. Two of his brothers began to play the fiddle, and soon Eivind joined them. His father Olav was also an apt player, and in their childhood, the brothers learned notes, and sometimes played together, when they got their hands on classical sheet music. Otherwisde, local folk music ruled. As Eivind grew up, he understood the value of witing down the tunes he heard from other fiddlers, and in this way, he soon gained great knowledge. He was also a skilled mathematician, and early on surpassed his older brothers.
Eivind Groven studied at Notodden to become a teacher, as his father had been, but soon abandoned this, because music called to him. He studied musical theory and composition for a year, mostly Berlioz and Beethoven. He held Beethoven in highest esteem for the rest of his life, and wished for the 9th symphony anthem to be played in his funeral. Unlike many other young Norwegian composers at the time, he refused to go abroad, but stayed at home, composing, and developing his own distinct musical forms, based on a merging of the sonata form with the special metamorphic principles unique to the dance music from Telemark, closely related to the forms of late baroque.
In 1925, Groven married Ragna Hagen, the younger sister of the author Ingeborg Refling Hagen. This resulted in a fruitful artistic relationship, and Groven created great music based on the texts written by his sister-in-law. He and Ragna had four children, Aslaug, Tone, Dagne and Gudmund.
Meanwhile, in 1931 Groven was appointed by the Norwegian Broadcasting Company, NRK, to be responsible for half an hour of folk music every week. Thus, he got a lot of gifted rural musicians to the radio, thereby preserving the folk music for posterity. Reactions from the urban public were harsh and unfriendly. Debates intensified, and people living in Oslo mostly expressed their disgust for this "barbaric music". Groven worked on, said little, as was his wont, but it is known that he silently burnt all the hate-mail. He received great and valuable support from his original rural community, and from his family. Groven resigned his post in NRK during the war, after a brief and unwelcome encounter with Joseph Goebbels, in his own studio.
From 1938 and into the war, Groven started his work on pure tuning, which resulted in his special organ, completed in 1952. Albert Schweitzer wrote to Groven and wished he could try this organ, and when he was granted the Nobel Peace Prize, he seized the opportunity. He exclaimed that a great organ had to be built. The concept of pure tuning in all keys had been Groven's dream from childhood.
After WWII, Groven participated in editing and publishing seven volumes of written and collected tunes for hardanger fiddle, along with two fellow folk musicians in Norway. The work was completed after their deaths. Groven continued composing, and was in later years greatly admired for his musical style and his use of the orchestra.
His wife Ragna died in 1960, and Groven remarried two years later, to Signe Taraldlien from Telemark. In the end, she outlived him by twenty years.
Groven god Parkinson's disease in 1964, and had to put away the fiddle. The medications available at the time caused undue stress to his heart, and he died at the age of 75, in the winter of 1977. He is buried alongside his first wife in the cemetery at Tangen, Hedmark.
[edit] Groven's musical style
Groven's musical style is heavily influenced by his folk music background, both harmonic and formal. The blue notes common in folk music were often compensated in classical orchestra through imaginative use of overtones and in orchestration. Groven's harmonies reflects often the harmonies of the hardanger fiddle, which is commonly played at on two or even three strings at a time. He also extracted harmonies from the Norwegian cither, the Langeleik, or the willow pipe.
It has been pointed out that Groven's harmonic principles are not far from the principles of the early Flemish Renaissance composers, such as Dufay and Obrecht. Like them, he often uses the sixth-chord, with a third at the bottom. Groven often thinks rather polyphonically, and this can also be traced to the hardanger fiddle, as well as to his admiration for Bach.
In early years, critics accused him of atonality, but in fact, Groven's music is quite tonal. He can, however use drastic modulations, which in this context turn out as fairly logical. Apart from this, he uses the old modes that are present in traditional Norwegian music. One has to remember, though, that he never heard much of the early flemish music, or even his older contemporary Stravinsky, and yet similarities can be found. Those similarities can be explained out of tonal feeling and tradition. Stravinsky in the early stage of his production used Russian folk music in an experimental way, like Groven.
Groven's form is metamorphic. He often uses a kind of fortspinnung, and turnes themes over to new themes gradually, in a very organic way.
Groven did not believe in the concept of absolute music. He stated rather that "all music is about something". Thus, one will find that most of his works are based on literature, poems or novels, or even plays. He wrote a number of songs over poems written by Henrik Wergeland, and choral works based on texts by the Norwegian novelist and playwright Hans E. Kinck and his sister-in-law Ingeborg Refling Hagen. His piano concerto and two symphonies are also based on works by the latter two authors.
Groven also composed music for hardanger fiddle, ewperimenting with new ways of tuning the instrument, and wrote a number of folk tune arrangements for his own organ, using blue scales and irregular intervals, not to be achieved on a regular well-tempered piano.
He wrote also a number of essays on the topics of pure tuning and the overtone scale, as well as an essay of his own invention, the pure-tuning automath.
