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In his organ works, Egil Hovland took the pulse of his age as he broke new ground. This can also be said of his orchestral, choral, and chamber music, which he composed in abundance. The selections on this album reflect his intense development from a neoclassical enthusiasm for Baroque to radical modernism, and then to what Hovland himself called an about-turn. He told university students in 1974: “Towards the 1970s I reverted to a Romantic or neo-friendly style.”
CHORALE PARTITA NO. 1. SIX VARIATIONS ON GJØR DØREN HØY, GJØR PORTEN VID
OPUS 7 (1947)
When Egil Hovland completed his organ studies in 1948, he had already composed his first partita, a piece clearly influenced by his teacher, Per Steenberg (1870-1947).
In his composition course, vocal polyphony, Steenberg had ascetic ideals represented most importantly by Palestrina and Renaissance polyphony. This purified, refined style became an ideal for many young composers such as Hovland, Conrad Baden, and Knut Nystedt.
Steenberg left behind the manuscript of an alternative hymnal in which he had omitted close to one hundred hymns because they were superfluous, less effective, and even inadequate in a religious or musical context. It was published by his students in 1949.
The variations on Gjør døren høy bear the influence of Steenberg’s conservative style, whereby the composition of a chorale must follow all the rules of Renaissance and Baroque polyphony. The work received such a positive reception that it was performed in Copenhagen in 1947 at the Festival Week of Nordic Music Students.
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