Ketil Hvoslef – Violino solo II (2009)
(b. Bergen, 19 July 1939)
Ketil Hvoslef is the youngest son of Harald Sæverud and Marie Hvoslef. He arrived at a propitious time, since his birth coincided with the completion of Siljustøl, the great mansion in the outskirts of Bergen where the Sæverud family settled and where his father lived until his passing in 1992. It also proved to be a haven during the Nazi invasion of Norway in the Second World War.
Being the son of a great composer, music was naturally very present during his upbringing. He learned to play the piano and the viola and, in his teens, he became heavily involved in Bergen’s jazz and pop music environment, becoming a member of what was, reportedly, Bergen’s first rock band. Hvoslef (who retained the Sæverud surname until his 40th birthday, when he decided to adopt that of his mother) had, however, plans to become a painter and took serious steps in that direction. It was in the Bergen Art Academy that he met the painter Inger Bergitte Flatebø (1938 – 2008), who would become his wife and adopt the Sæverud surname.
With the birth of their first child, Trond, in 1962, Hvoslef realized that he needed to provide for his family and, abandoning his dreams to become either a pop star or a painter, he took an organist’s diploma at the Bergen Music Conservatoire. Upon finishing his studies, he was offered a position as theory teacher at the Conservatoire by its director, the legendary Gunnar Sævig (1924 – 1969).
Hvoslef became a composer almost by accident. In his 25th year he composed a piano concertino for his own satisfaction. Shortly after, his father passed on to him a commission for a woodwind quintet he had no time or inclination to write. Since then Hvoslef has received a fairly steady stream of commissions and his work list counts with some 140 compositions to date. Hvoslef always enjoys a challenge and he has often written for unusual or seemingly “hopeless” instrumental combinations, always using the limitations of the ensemble as a stimulant for his imagination. He has written for large orchestra, for a great variety of chamber ensembles and for solo instruments. He has composed twenty concertos and three operas to date.
He was the Festival Composer in the Bergen International festival in 1990 and has received several prizes such as the Norwegian Composers’ Society’s “work of the year” in four occasions (1978, 1980, 1985 and 1992) and TONO’s Edvard Prisen in 2011.
Hvoslef’s music is characterized by great transparency and by a conscious building of tension achieved by accumulating latent energy. He wants his listeners to lean forward and listen rather than sit back and be lulled into a reverie. Listening to a Hvoslef composition is always an adventure. One never knows what to expect. He stretches sections of the music almost to breaking point and only then introduces a new idea. His music has a classical clarity and transparency and is therefore always easy to follow. Although his highly personal and concentrated language is very much of its time, Hvoslef is not averse to using material that is recognizably tonal (such as major and minor triads) albeit always in a context that sets these familiar sounds in conflict with their surroundings. Rhythm is a very prominent aspect of Hvoslef’s music. Although the vast majority of his production is notated in 4/4 metre, his rhythmical patterns almost never conform to it, always favouring patterns of odd-numbered notes.
Ketil Hvoslef is, without a doubt, one of the greatest composers to emerge from Scandinavia in the second half of the Twentieth Century and one of the truly original masters of our time. …
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