Ritmennt - 01.01.1999, Blaðsíða 105

RITMENNT
BEETHOVEN I TJARNARGOTUNNI
Summary
The musical language of Jón Leifs
(1899-1968) has frequently been regarded as
"unique" in its use of elements derived
from Icelandic folk music, and the com-
poser himself has been portrayed as a rad-
ical nationalist who avoided the influence
of other composers. However, in a number
of articles on the life and music of Ludwig
van Beethoven, Leifs made clear the crucial
importance of Beethoven's music for his
own creative achievements. Furthermore,
Leifs' compositions themselves often betray
the influence of Beethoven, both in direct
use of musical material [Variations on a
Theme by Beethoven, op. 8), as well as in
more subtle references (similarities
between the Coriolan-overture and the
opening measures of Leifs' Saga Sym-
phony). Leifs' writings make it clear that he
regarded Beethoven as the creator of a "Nor-
dic" musical style, the development of
which Leifs regarded as his most important
compositional task. An indication of the
strength of Beethoven's influence can be
gleaned from a dream that Leifs recorded in
1958, in which Beethoven had moved to
Iceland with the intention of spending the
next 20 years tliere working on his compo-
sitions. The dream seems to suggest that
Leifs' ambition of becoming "the Nordic
Beethoven" was a life-long occupation, the
last remains of which can be seen in his
choral arrangement of Beethoven's Heiligei
Dankgesang, written in 1965, three years
before Leifs' death.
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