Gunnar Sønstevold was one of the most innovative Norwegian composers of the 20th century. With roots in both classical music and jazz, he created works that crossed genres and demanded improvisational courage from both performers and audiences. In this conversation, guitarist and composer Odd-Arne Jacobsen shares his memories from when, at the age of 25, he was invited into Sønstevold’s great work Litani in Atlanta, which was named “Work of the Year” in 1972 by the Norwegian Society of Composers.
Meeting Sønstevold “I met Gunnar Sønstevold in Tromsø in 1972. He was already working on Litani in Atlanta and asked me to join as a guitarist on the 6-string guitar banjo. It was an enormous work, over an hour long, with a large ensemble, choir, and soloists. I was young and first thought: ‘Can I really fill that role?’
“As an improvising musician, I felt confident, but reading sheet music in a symphonic setting made me uncertain. Luckily, I had good supporters around me, including Bjørn Alterhaug on bass and Terje Bjørklund on piano. We leaned on each other, and that made it possible to get through.”
Becoming Part of a Historic Ensemble “The work gathered many of Norway’s foremost musicians. To be the only guitarist in such a large ensemble was both a privilege and a huge challenge. I had to improvise a lot but also be precise in the tightly notated passages. It was a meeting between two worlds: the freedom of improvisation and the rigor of the score.
“The atmosphere during rehearsals was special. We laughed and had good moments, but at the same time, we often fell completely silent because the music struck us so strongly. I particularly remember the tension when I had a pause of over 200 bars and had to come in exactly right. My nerves were high, but the feeling of being part of a bigger machine gave me strength.”
Meeting Anne Brown “When Litani in Atlanta was performed at the Bergen International Festival in 1987, Anne Brown was the soloist. Hearing her recite in this work was deeply moving. She carried with her a whole life story—from international fame to experiences with racism in the United States, and then a new life here in Norway.
“Afterwards, I was invited to her home for tea and pastries. She told me about her life, her music, and the segregation she had experienced. That conversation was eye-opening and made the work even more meaningful for me.”
The Lynching in Atlanta “In Litani in Atlanta, two powerful histories meet: W. E. B. Du Bois’ descriptions of the lynchings in Atlanta, and Anne Brown’s personal journey. That combination created a special dynamic. It was a dialogue between African American struggle and Norwegian musical tradition, and the music carried both pain and hope.”
Nerves, Responsibility – and a C Major that Meant Everything “I especially remember the ending: I was to finish the work on 6-string guitar banjo together with the double basses in a simple C major triad. It sounds trivial, but imagine if I had missed and played a wrong note? My pulse was like that of a top athlete. After the concert, I had to stretch my fingers, I was so tense in my body.
“Conductor Knut Nystedt reassured me along the way. He said: ‘When the choir says Have Mercy, I’ll cue you in.’ And he did. That security was crucial for me to dare to let go.”
Challenges and Learning “The challenge was to balance between improvisation and reading notes, and to stay calm in such a massive work. But I learned a lot: how important it is to master both, and how valuable it is to have fellow musicians you can rely on.”
What Remains Today? “For me, it is a realization of how important it is to dare to cross boundaries. Gunnar Sønstevold, Anne Brown, and Knut Nystedt represented artists who were not afraid to blend expressions and who used music to say something essential about the world.
“To young musicians I would say: be curious and fearless. Learn to read music, but keep your improvisational ability—the combination is worth gold. Be open to learning from older colleagues, and don’t be afraid of nerves; use them as fuel. And perhaps most importantly: take social engagement seriously. Art becomes stronger when it dares to tackle the big questions.
“To have been part of Litani in Atlanta, together with Gunnar Sønstevold, Anne Brown, and Knut Nystedt, was for me an experience of a lifetime,” concludes Odd-Arne Jacobsen.
