He studied composition with Hermann Grabner and Leopold Wenninger, and the piano with Otto Weinreich, making extraordinary progress in both fields.
The joy of learning from some of the best German educators of the time was often overshadowed by his almost chronic lack of funds – Tveitt having to rely upon translation work and donations to support himself.
However, the latter must have felt great pride when Tveitt had his 12 Two-part Inventions in Lydian, Dorian and Phrygian accepted for publishing by Breitkopf & Hartel in 1930.
Tveitt also made a visit to Vienna, where he was able to study for some time with Austrian composer Egon J. Wellesz, a former pupil of Arnold Schoenberg.
In the years leading up to World War II, Tveitt derived most of his income working as music critic to Sjofartstidende (The Naval Times).
Tveitt's intense, glittering, French-Impressionist flavoured rendition of the dancing and mystical northern winter sky, earned him the acclaim of his former teacher Nadia Boulanger in her following review.
[4] One of the most controversial areas of Tveitt's career is his affiliation with the so-called Neo-Heathenistic movement, which centered around the Norwegian philosopher Hans S. Jacobsen (1901–1980) in the 1930s in Oslo.
Jacobsen's main thesis, inspired by the theories of the German theologist Jakob Wilhelm Hauer, was the total refutation of Christianity in favour of a new heathen system based upon Norse mythology and the Edda poetry.
The movement rejected Christianity and sought to re-introduce the Norse pre-Christian system of belief – the adoration of Odin, Thor and Balder.
Jacobsen later became a member of Nasjonal Samling ('National Assembly'), which led the interim, pro-Hitler puppet government during the German occupation of Norway.
His preoccupation with Jacobsen's thinking however, materialised in conspicuous ways; for example, Tveitt invented his own non-Christian timeline based upon the arrival of Leif Erikson in what is now Canada.
In it, one could argue, Tveitt seeks to establish a link between this world – its creation, cycle and dwellers – and the eternal battle between the benevolent heathen Norse gods and their opponents, the evil jotuns.
Tveitt's connection to far-right German thinking is perhaps a question scholars will return to as the world understands the dynamics of a troubled period in European history more fully.
[5] [6] Geirr Tveitt's compositions are characterized by their eclectic influences, drawing inspiration from a diverse range of musical styles and traditions.
His works prominently feature the aggressive energy found in the early ballets of Igor Stravinsky, as well as the distinctive rhythms and textures reminiscent of Béla Bartók.
Many composers and musicologists (including Norway's internationally recognised Edvard Grieg) had successfully researched and collected the music of Hardanger long before Tveitt.
He thus happened upon a treasure of unknown tunes, claiming to have discovered almost one thousand melodies, and incorporated one hundred of these into his work list; Fifty folktunes from Hardanger for piano op.
Musicologist David Gallagher might speak for many when he suggests that in these two opuses – their universe, music and history – are found the very best of Tveitt's qualities as a composer.
Tveitt utilised his profound knowledge of traditional and avant-garde use of harmony and instruments when he scored the tunes – achieving an individual and recognisable texture.
Tveitt worked as Assistant Producer to the radio, where he also premiered numerous songs written to texts by respected and well-known Norwegian poets like Knut Hamsun, Arnulf Overland, Aslaug Vaa and Herman Wildenvey.
Starting in the late 1990s the Norwegian government began to provide some funding for the examination and preservation of the remains of Tveitt's scores, and several startling discoveries have been made.
A TV documentary program Baldur's Dreams on the incredible fate of the ballet, was broadcast in Norway on 15 June 2008 and attracted nationwide interest.