Sigma Alpha Iota

sai-national.org • Spring 2026 23 A Wld of Music narration and ending with related musical excerpts. One particular segment engages listeners and asks, "What do you hear—people swimming or a flock of birds?" We entered a dimly-lit room called "Cave" that was designed to look like nature, a subject that had always fascinated him and inspired his compositions. The musical form of these was influenced by classical composers, such as Haydn and Mozart. Sometimes melancholy, his works are never atonal. Sæverud was somewhat eccentric with odd ideas about maintaining his health. He would walk barefoot outside to soak up the minerals from the dew; he drank a daily shot of ocean salt water believing it would keep his hair blonde. In addition, for a workout, he attached two wooden rings to ropes hanging on ceiling hooks to pull himself up—or perhaps even show off for guests! Marie Hvoslef, an accomplished amateur pianist, became Sæverud's wife after they met at a dinner party and fell in love at first sight. She was married to a wealthy businessman at the time, but after meeting Sæverud, she divorced and got custody of their daughter, Hildur. Marie was high society, fashionable, flamboyant, and one of Bergen's first female drivers. She could often be seen in a convertible wearing a long silk scarf around her neck. Enthralling is a beautiful portrait of Marie by Slovenian painter Bozidav Jakac (1899–1989). This huge oil painting (with a pair of her shoes on the floor below) is the focal point in the first room upstairs, but it is not the only painting there. On one wall is a portrait that Marie, an amateur artist herself, painted of her middle son, Tormod. On another is a portrait her daughter-in-law painted of Harald wearing a gold jacket (to match his blonde hair) along with his customary bow tie and in the background a musical score. The house is filled with artworks by many locals as well. In the dining room is a unique portrait of the three Sæverud sons all together yet painted at different times, making them look closer in age. Harald designed the dining room chairs, which appear uncomfortable. I rang the gong that in the past had summoned the boys to meals. A consequence for their late arrival was waiting until the next mealtime to eat. By opening a window in the largest room, now a music hall seating forty people for concerts, Harald could easily pick a green apple from branches of a tree. A large table held a rectangular tray filled with colorful wind-up toys (mainly animals), which he enjoyed playing simultaneously at parties. After humming the melody of one of his most famous works, Monica played a CD of the actual piece. I liked it immediately! The museum holds concerts throughout the year. However, the grand piano in the room is new and did not belong to Sæverud. His black Steinway, uniquely outlined in burnt orange around the top edges, was in the exhibition room near a huge frame with his profile portrait by Bergen photographer Hans Jørgen Brun. Formerly a flat for his sister, the room now contains interesting displays in glass cases: a Hardanger fiddle (crafted by his great grandfather) and his handwritten manuscripts that look printed by a press. Several of these looked relatively easy; indeed his music is accessible to pianists of varying levels—not just professional concert artists. His composition room remains more or less as it appeared at the time of his death. (He is buried on his estate and even tried out his grave beforehand!) A large cowhide rug covers the floor, and on two tables are a viola and two bows, three woodwinds, a candle holder, an empty bottle, eyeglasses, composition supplies, books, and other miscellaneous objects. Over a wooden barrier is a separate sleeping alcove with a narrow, short bed. If inspired to compose during the night, he could get up and write his musical idea without disturbing anyone. Ordinary cushioned thumbtacks still hold stationary curtains on either side of a single window—certainly a tacky (pun intended) image not used by interior designers! After a fascinating, unforgettable hour at the museum, I yearn to become better acquainted with Sæverud's music. Jayne I. Hanlin is an initiate of Alpha Omicron and current member of the St. Louis Alumnae chapter. Mrs. Hanlin, the sister of famed pianist Malcolm Frager, is the co-author of Learning Latin Through Mythology (Cambridge University Press, 1991). At left, Curator Monica Jangaard At left, Curator Monica Jangaard in the composer's composition room. in the composer's composition room. Below, the composer's wind-up toy collection. Below, the composer's wind-up toy collection.

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