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Harald Sæverud
Harald Sigurd Johan Sæverud (17 April 1897–27 March 1992) was a Norwegian composer.〔(Siljustøl museum )〕 He is most known for his music to Henrik Ibsen's ''Peer Gynt'', ''Rondo Amoroso'', and the ''Ballad of Revolt'' ((ノルウェー語:Kjempeviseslåtten)). Sæverud wrote nine symphonies and a large number of pieces for solo piano. He was a frequent guest conductor of his own works with the Bergen Philharmonic Orchestra.
==Background and early career==
Harald Sæverud was born in Bergen and received his basic music education at the local conservatory where his teacher was the Leipzig-educated composer Borghild Holmsen. During his conservatory years he began working on what would become his first symphony, outlined as two large symphonic fantasies. The first fantasy was completed in 1919 and was accepted for performance in Kristiania (later Oslo) in 1920. It revealed an extraordinary talent and gained him a scholarship for further studies at the Staatliche Hochschule für Musik, where Friedrich Koch was his teacher for two years. In Berlin, Sæverud completed the final part of his first symphony; this new section was premiered by the Berlin Philharmonic Orchestra. The performance was conducted by his friend Ludwig Mowinckel, who had hired the orchestra to present a concert dedicated to modern Norwegian music. The critics were mostly favorable to Sæverud's symphony, and this further raised his interest for symphonic and orchestral music.
Harald Sæverud moved back to his hometown of Bergen in 1922, where he stayed, with few exceptions, for the rest of his life. His earliest compositions are coloured by a late Romantic musical style, but later he developed a personal idiom, often based on classical forms inspired by composers like Joseph Haydn and Wolfgang Amadeus Mozart. But his neoclassicism could often possess dissonant and strong expression. How he has utilized this is commented on by musicologist Lorentz Reitan: "His symphonies, for example, are studies in musical form: Thematic/motive development in accordance with the material's own rules and logic. Classic forms such as sonatas and fugue are for him, to a larger extent, overriding principles rather than forms to be filled out, and his circling around musical constructions often gives his music an abstract quality" (Cappelens Musikkleksikon).
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