Johan Kvandal

After taking degrees in orchestra conducting and church music at the Music Conservatory in Oslo, Johan Kvandal (1919-99) continued his studies with Per Steenberg (harmony and counterpoint), Ingebjørg Gresvik (piano) and Geirr Tveitt (composition). He also studied composition with Joseph Marx in Vienna and with Nadia Boulanger in Paris. From 1959-74 he was organist in Vålerengen Church in Oslo. For many years he has been active as a music critic, from 1959-71 for ”Morgenposten”, and since 1973 for ”Aftenposten” (both are daily newspapers in Oslo). Kvandal´s many honorary posts in Norwegian music life include membership on the board of directors of the Society of Norwegian Composers from 1961-73, and on the council of experts of that organization from 1960-75. He has been on the board of directors for TONO (Norwegian Performing Rights Society) since 1963, and is a member of the Norwegian Cultural Council´s editorial committee for the recording and printing of Norwegian classical music.

Johan Kvandal belongs to the moderate line of Norwegian composers, and his works often reflect the inspiration of Norwegian folk music. His studies in Paris from 1952-54 were of decisive importance to his development as a composer in that he turned towards a neoclassical tone language. According to the composer, his models have been Mozart, Stravinsky and Shostakovich. His most important works include the orchestral compositions Norwegian Ouverture, Op. 7 (1950), Variations and Fugue, Op. 14 (1954), Symphony No.1, Op.18 (1958), Concerto for Oboe and String Orchestra, Op. 22 (1963), Antagonia for Two String Orchestras and Percussion, Op. 38 (1973), Concerto for Oboe and String Orchestra, Op. 46 (1977), Concerto for Violin and Orchestra, Op. 52 (1979) and Triptychon, Op. 53 (1979). He has also written a number of chamber music works, songs and piano compositions.