• Ricardo Odriozola: Interview with Rolf Sandvik (first violinist in the premiere performances of Harald Sæverud’s 2nd and 3rd string quartets in the 1970’s). January 26th, 2018, Bergen.

  • Signe Bakke: Meeting with Sigurd Fisher Olsen May 12th, 2020

  • Signe Bakke: Meeting with Hild Borchrevink December 12th, 2019

  • Liv Elise Nordskog and Signe Bakke: Meeting with Gyri Tveitt



  • Manuscripts of the songs by Geirr Tveitt at The National Library in Oslo

  • Harald Sæverud - String Quartet No. 2, Op. 52. Bergen Public Library and Norwegian National Library (Oslo)

  • Harald Sæverud - String Quartet No. 3, Op. 55. Score: Bergen Public Library. Score and original parts: Norwegian National Library (Oslo)

  • Harald Sæverud – Music examples from solo piano music taken from: Slåtter og Stev fra Siljustøl suite 1 and 2 Opp. 21/22, Lette stykker Op. 14/6, Sonatiner Op. 30. Scores printed by Musikk-Huset AS, Oslo, Norway



Composer-performer project’s overview of recordings (videos/CD). Info about LAWO CD

  • “Sæverud på Siljustøl” (1972) NRK-TV

  • Harald Sæverud, Jan Henrik Kayser ‎– Siljudance / Easy Pieces for Piano / Tunes and Dances. From "Siljustøl" BIS ‎– LP-73

  • Jan Henrik Kayser: "Harald Sæverud – 23 selected piano pieces"Simax Classics ‎– KPCD 02

  • Jan Henrik Kayser spiller Sæverud - ARIOSO (2) – KPCD 02

  • Einar Steen-Nøkleberg: "Complete Piano Music vol 1-6" – Naxos

  • Einar Røttingen: "Sæverud: Complete Piano Music" – Simax Classics PSC1116

  • Einar Henning Smebye: "Complete Piano Music Vol. 1-3" – Victoria 1994

  • Harald Sæverud: "String Quartets". Hansakvartetten – PSC 1141

  • Hommage á Sæverud (String Quartet No. 3). Norwegian String Quartet – VNP 0097-0041



  • Adorno, T.W. (2006).Towards a Theory of Musical Reproduction. Polity.

  • Aksnes, H. (2002). Perspectives of Musical Meaning: A Study Based on Selected Works by Geirr Tveitt, [Doctoral dissertation]. University of Oslo.

  • Bakthin, M. (2003). Latter og dialogCappelens upopulære skrifter.

  • Baron, J. H. (1998). Intimate Music: A History of the Idea of Chamber Music. Pendragon Press.

  • Bastian, P. (1988). Inn i musikkenGyldendal.

  • Benson, B. E. (2009). The Improvisation of Musical Dialogue: A Phenomenology of Music. Cambridge University Press.

  • Berger, J. (1980). Konsten att se. Brombergs Bokförlag, Stockholm (translations from Swedish to English used in text: Einar Røttingen)

  • Born, G. (2013). Music, Sound and Space. Transformations of Public and Private Experience. Oxford University Press.

  • Born, G. (2010). For a Relational Musicology: Music and Interdisciplinarity, Beyond the Practice Turn. Journal of the Royal Musical Association, 135(2), 205-243.

  • Butt, J. (2002). Playing with History. Cambridge University Press. 

  • Chandler, D. (2007). Semiotics. the basics. Routledge.

  • Coessens, C., Crispin, D. and Douglas, A. (2009). The Artistic Turn. Leuven University Press.

  • Cook, N. (2014). Beyond the Score: Music as Performance. Oxford University Press. 

  • Cumming, N. (2000). The Sonic Self: Musical Subjectivity and Signification. Indiana University Press. 

  • Dahlhaus, C. (1989). Nineteetnh-Century Music, University of California Press.

  • Després, J.-P., Burnard, P., Dubé, F., & Stévance, S. (2017). Expert Western Classical Music Improvisers' Strategies. Journal of Research in Music Education, 65(2), 139-162.

  • Erll, A. and Nünning, A. (Eds.). (2010). Cultural Memory Studies. An International and Interdisciplinary Handbook. De Gruyter. 

  • Dewey, J. (1934). Art as experience. Berkley publishing group.

  • Clarke, D. (2017). Distributed Creativity. Collaboration and Improvisation in Contemporary music. Oxford University Press.

  • Dudas, R. (2010). Comprovisation: The Various Facets of Composed Improvisation within Interactive Performance Systems. Leonardo Music Journal, 20:29-31.

  • Feyerabend, P.  (1991) Three Dialogues on Knowledge. Wiley-Blackwell.

  • Fidom, J., & Peeters, P. (2016). Improvisation: the Emancipation of an Ancient Skill. Viewed 11 January 2020 from

  • Fischer-Lichte, E. (2008). The Transformative Power of Performance. Routledge.  

  • Fraenzke, O. (2017): Komplexe Einfachheit. Ein Themenstudie zur Klaviermusik von Harald Sæverud. [Master of Arts Thesis]. Ludwig-Maximilians-Universität München. 

  • Goehr, L. (1924), The Imaginary Museum of Musical Works. Oxford University Press.

  • Helle, K. (Ed.) (2006). Vestlandets historie. 3. bind. Vigmostad og Bjørke.

  • Grimley, D. M. (2006). Grieg: music, landscape and Norwegian identity. Boydell Press.

  • Grimley, D. M. (2011). Music, Landscape, Attunement: Listening to Sibelius's Tapiola. Journal of the American Musicological Society, 64(2), 394-398.

  • Johnson, J. (2015). Out of Time: Music and the Making of Modernity. Oxford University Press.

  • Johnson, J. (1999). Webern and the Transformation of Nature. Cambridge University Press.

  • Kaufmann, G. (2006). Hva er kreativitet? Universitetsforlaget.

  • Kayser, J.H. (1997). Rondo Amoroso. Harald Sæverud og Klavermusikken. Nord 4 Bokverkstad. (translations from Norwegian to English used in text: Einar Røttingen)

  • Klein, Eve. (2018, January). MONA FOMA 2018. [Performance]. MONA (Museum of old and new art). Hobart. Tas, Australia.

  • Kruse, B. (1995). Den tenkende kunstnerUniversitetsforlaget.

  • Kvalbein, A. (2015, April). Sanselighet og religiøs mystikk- å synge Valens poesi. (Paper presentation). Fartein Valen Festivalen, Valevåg.

  • Kyvi, P. (1990). Music Alone: Philosophical Reflections on the Purely Musical Experience. Cornell University Press. 

  • Meyer, L. B. (1957). Meaning in music and information theory. Journal of Aesthetics and Art Criticism.

  • Maegaard, J. (1988). Den ekspressive polyfoni. In Vollsnes, A. O. (Ed.) (1988). Aspekter ved Fartein Valen og hans musikk. En rapport fra et seminar avholdt ved 100-årsjubilet (pp. 6-19). University of Oslo.

  • Moustakas, C. (1990). Heuristic Research. Sage Publications.

  • Nettl, B. (2013). Contemplating the Concept of Improvisation and Its History in Scholarship. Music Theory Online. 19. 10.30535/mto.19.2.6.     

  • Nyrnes, A. (2006). Lighting from the Side. Rhetoric and Artistic Research. Kunsthøgskolen i Bergen.

  • Nystroem, G. et al. (Eds.) (1967). Harald Sæverud 1897-1967. Gyldendal Norsk Forlag.

  • Odriozola, R. (2016): Opus Perseverat. Five Composers from Western Norway. Musikproduktion Hoeflich.

  • Orning, T. (2012). Pression–a performance study. Music Performance Research, 5, 12-31.

  • Pedersen, M.E. (1985). Musikk i postmodernismen – «Minimal music»? Magistergradsavhandling, Universitetet i Oslo.

  • Reitan, L. (1997). Harald Sæverud (1897-1992). Mannen, musikken og mytene. Aschehoug.

  • Rosen, C. (2002). Piano Notes. The World of the Pianist. Simon and Schuster.

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  • Schoenberg, A. (1974). Style and Idea – Selected Writings by Arnold Schoenberg. Faber & Faber/Belmont Music Publishers.

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  • Stravinsky, I. (1949). Poétique musicale / Musikalsk poetikk. Cappelens Forlag.

  • Sæverud, H. (1974). Et sørgelig kapittel. In Hølmebakk, G. (ed.). Det første halvsekel – bilder fra norsk barndom (pp. 16-39). Gyldendal Norsk forlag.

  • Sæverud, H. (1967). Festskrift ved 60 års-jubileet 1897-1967Gyldendal Norsk Forlag.

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Composer-Performer Collaborations

Radio interview with Vaage:

  • Svev at Borealis Festival March 11, 2018, interview in “Spillerom” NRK P2, March 25, and BBC Radio 3: ”Hear and Now”, with Kate Molleson, July 21, 2018.

Reviews of Svev at Borealis Festival:

  • “Borealis 2018: The Importance of Failure in Experimental Music - I Care If You Listen”, Amanda Cook, March 21, 2018

  • “Constructed Deconstruction – Experimentation at Borealis in Bergen” Van Magazine, Zack Ferriday, March 15, 2018


Radio interview about Svev with Vaage, Ehde and Valen Trio:

  • Svev at Aarhus Summer Festival, Aarhus, July 19, 2018, interview in DR P2 


Hybrid Spectacle at Borealis Festival, March 7, 2020, Studio Bergen:

  • Radio recording/interview, NRK P2 “Spillerom” May 10, radio NRK 2020

  • A multi-camera production from premiere on NRK television, “Hovedscenen”, June 7, 2020

  • Interview with Vaage: "Radiobølgjene kjem til oss med spor av stjernestøv i seg", Bergensmagasinet, Magne Fonn Hafskor, February 23, 2020.


Reviews of Hybrid Spectacle at Borealis 2020:

  • "Musikalske øvelser i død", Johannes Grytnes, March 14, 2020.
  • Martin Longley, April 4, 2020
  • "Tylko słuchaj!" (Only listen!) Ruch Muzyczny, Krzysztof Stefański, nos. 6–7, 2020 


Review of CD with Svev (LAWO CLASSICS/LWC1199):



References to other composer-performer collaborations


There have been many musical projects based on composer-performer cooperation. What makes Ehde’s and Vaage’s project unique is their focus on improvisation and use of dialogue as a method, with equality and interchange of roles as composer and performer.


Below are a few examples of their references:

In 2015, composer François Sarhan and percussionist Jennifer Torrence collaborated to create a music theater piece for solo percussion, No Say No Way. Pianist Zubin Kanga and composer Alex Pozniak created Interventions together in 2010.

  • Francois Sarhan & Jennifer Torrence: No Say No Way YouTube

  • Alex Pozniak: Interventions YouTube

  • The work Points-Line-Plane, from the Canham-Lopez collaboration, is a reference to our work with sound and visual design accompanying the musical composition. YouTube

Taking a Fresh Look at Harald Sæverud’s 2nd and 3rd String Quartets


In order to unsettle and resettle knowledge of Harald Sæverud’s music, RO did the following research: he studied scores and compared them to various performances and recordings of his works. Violinist Rolf Sandvik was interviewed, as he had been the first violinist of a string quartet which had premiered these works in the 1970's. He consulted manuscripts, in different stages of revision, which were found at the Bergen Public Library and Oslo's National Library. He presented research findings with the artistic research group and asked them for feedback. Especial attention was paid to recordings made by musicians who had worked closely together with Sæverud, including Trond Sæverud, Jan Henrik Kayser, Einar Røttingen, and Karsten Andersen. He listened to recordings at which the composer is known to have been present and participating (Bergen Philharmonic Orchestra, Royal Philharmonic Orchestra). He also listened to his earlier recordings made with the Hansa Quartet in 1996.


The following books were consulted: Oliver Fraenzke's Master thesis on Sæverud's piano music, Lorentz Reitan's biography Harald Sæverud – Mannen Musikken Mytene (Aschehoug 1997), Jan Henrik Kayser's book Rondo Amoroso (Nord 4 bokverksted, 1997), Bjørn Li’s Harald Sæverud (Aventura, 1986) and the 70th birthday publication Harald Sæverud 1897-1967 (Gyldendal Norsk Forlag 1967).


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