Born in Malmö on 11th June 1915. Died in Bagarmossen on 27th January 2015. He studied in Sweden and internationally. He was a viola player with the Swedish Radio Symphony Orchestra, in the Nationalmuseum and Drottningholm Chamber Orchestras, and in Gitarr-Kammartrion and Tonkonstnärstrion. He was also one of Sweden’s foremost mandolin players. He made extensive tours of Europe. He is affiliated to Gesellschaft der Musikfreunde, Vienna, Florisdorfer Kammerspieler and Arnold Schönberg Haus, Mödling. Distinction conferred by the city of Vienna in 1987.
Many of Ebbe Grims-land’s compositions have been occasional presents to his circle of friends: small cogitations in chamber music, often with a generous dose of humour and a twinkle of the eye. But appearances can be deceptive, for not infrequently this music has profound undertones and requires very skilful performers. Several of his compositions are written for different - sometimes very unusual - combinations of two or three instruments, e.g. Instrumental Ballad (violin, viola, guitar), Suite (piccolo, electric mandolin, marimba), Eloge för Bibi Andersson (flute or oboe, guitar), Efter en Commedia (two violins, viola, guitar), Florisdorfer Terzette (two violins, viola). His great interest in plucked instruments has also left its mark on his abundant and variegated listed output: Nutidsmånålåg (electric mandolin), Canzona (three mandolins), The Love of Three Mandolins, Polyphone-Polka- Polonaise (two mandolins), Burlesque- Tivolienne (two mandolins, guitar, bass) and Gossecs Gavott i dagtida klädnad (three mandolins), in which the celebrated composition is lovingly and amusingly transformed beyond recognition.
His interest was also captured by music for various solo instruments: Brilliante Figurationen, concerning which the composer has written: “Rather ‘Kreislerian’ one might say of a month’s extravagances for solo violin. And yet not really music of the arbour or the flowing river – if anything, more in the manner of strict platform music. Heaven bestowed upon me the notes C sharp, D sharp, A, F, G and B flat, which got me started on nine pages packed full of violinistic expression.“ In other words, a comprehensive work for advanced performers with experience of all the dodges. Stig Jacobsson. Photo Lars Torndahl