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Iver Kleive
1949 -
Norway
Picture Picture
I. Kleive
Iver Kleive (25/05/1949), a Norwegian pianist, organist, dirigent and componist (born in Skien). He is known for his composing style which is a fusion of traditional church music with other musical idioms such as blues, jazz, and Norwegian folk music. He has appeared in nearly 200 recordings as a studio musician, composer and arranger.
Requiem
Period:21st century
Composed in:2003
Musical form:mass
Text/libretto:latin mass en norwegian texts
Duration:80'40''
In memory of:his son Alexander; victims of September 11 and all killed soldiers
Label(s):fxcd 325
This requiem (2001 - 2003) is for mixed choir and orchestra. It contains:
1. Introitus 10:48
2. Exaudi 3:21
3. Dies irae 18:09
4. Tuba mirum 8:58
5. Rex tremendae 6:33
6. Recordare 3:29
7. Confutatis 5:48
8. Lacrimosa 4:23
9. Sactus 4:18
10. Benedictus 7:32
11. Agnus Dei 2:24
12. Lux aeterna 4:57
"Requiem" for mutual comfort
"Requiem" is a tribute to those who have passed away, and a delivery of a hope of comfort to those who are left.

- Iver Kleive: I want to give a musical expression to the prayer that those who have passed away will have eternal rest. It is a tribute to the dead who have been close to me, and to the victims of relentless events in our time. And it is a delivery of a hope of comfort to those who remain. A long process.
Organist and composer Iver Kleive rarely uses big words. Neither about himself nor about the music he makes and plays. But now he whispers words of sorrow, hope, life and death. He has written an entire requiem based on traditional obituary liturgy texts in Latin for two large choirs, soloists and organ. He himself is organist in the massive "Requiem" in well over an hour. The work was recorded in Ljubljana, Slovenia with over 130 participants, and is now on record. On Saturday, it was performed in the Arctic Cathedral in Tromsø. It has been a long process.
Lost son.
In the late summer of 1997, Kleive and his family lost their son Alexander. Just weeks later, he received a request to write a work for Trondhjem's Student Singing Association. He then wrote "Dies irae", which was performed as an independent work in Nidaros Cathedral in March 1999. In 2001, he was asked to write a complete requiem for the same choir. The same day he was about to start writing, he was struck by the news of the towers that fell on September 11 in New York.
Felt sad.
- It became too strong to take up again and further develop the topic I wrote after my son died. It felt pointless. I felt the grief both near and far. The greed in the world stood in a row. I chose a classic, objective requie form, and tried to fill it with my subjective feelings. I found solace in finding something beautiful in the midst of pain. Over the past year, I have had time to rewrite the work for mixed choir, and complete it for record recording, while I have inevitably observed hundreds of coffins of young men being sent home to their broken parents. The work is dedicated to my son and the victims after September 11. - Have you experienced the writing process as a personal therapy in your own grief? - It has not been intended as such, but I have probably found comfort in formulating these thoughts in music. I'm glad I did. I get touched when I'm inside the work. Things reappear when I hear it and perform it. I was about to start laughing during the concert in Tromsø on Saturday. You need big words and great music to be able to formulate precisely about such fundamental and difficult things.
Dilemma.
- A requiem is inextricably linked to the church, the liturgy in worship services. Has the work with it done anything to your relationship with the church? - I have experienced it as a dilemma. It is strongly connected to the church, but I have not necessarily become stronger in my own faith. I hope it is true with eternal salvation, but I am not able to be a happy believer. There is so much anger in grief. But I hope that the text in the requiem is correct. I hope it is possible to achieve eternal rest, that is what I pray for the dead. I'm glad I get to perform this in church. - You also sign up for a heavy musical tradition. There are no little boys who have composed requiem before you? - I have not taken that into account. I have done it my way, and I feel I have a right to it too. The reception we have experienced at concerts, most recently in Tromsø on Saturday, shows that works work. This is a kind of utility music. I get comfort from performing it, and the audience can find comfort in experiencing it.
Author:Avtor Marcussen
Source:article2073117.ece