- Biography
- Piano Concerto in A Minor
- Four Norwegian Dances
- Lyric Pieces
- Homage March
- Sigurd Jorsalfar
- Peer Gynt: ‘Morning’
- Peer Gynt: ‘Arabian Dance’
- Holberg Suite
- Symphonic Dances
Biography
Some say Grieg is Norway’s most famous composer; less charitable musicologists might say ‘Norway’s only famous composer’.
Whatever their views, Grieg is held in high regard in classical circles as being the composer of one of the most popular piano concertos of all time.
He has also given us an insight into the folk culture and character of his native land through his music in just the same way that Dvorák, Smetana, Copland, Sibelius and Vaughan Williams have done for their respective countries.
Originally of Scottish descent on his father’s side, it seems that Grieg may have received his extraordinary musical abilities from his mother, who was an accomplished pianist.
She gave her son piano lessons from the age of six and Grieg showed such excellent promise that he was sent off to study at the illustrious Leipzig Conservatoire, where he was heavily influenced by Robert Schumann.
He found his time in Leipzig totally absorbing and made a point of attending concerts and utilising his time as a student to the very best advantage.
In 1863 he moved to Copenhagen, the cultural capital of Scandinavia, and it was here that Grieg really became interested in folk culture.
He spent the next few years travelling between each of the three countries (Denmark, Finland and Norway) and in 1865 composed the famous Peer Gynt Suite for Henrik Ibsen’s drama.
This was one of his earliest known compositions and it was followed by his First Violin Sonata and the Piano Sonata.
Grieg eventually settled in Norway in 1866 and founded the Norwegian Academy of Music – a bold step for a man of just twenty-three years of age.
He felt passionately about promoting the works of all Norwegian composers and frequently arranged concerts and concert tours to widen the appreciation of this music.
Just two years later Grieg wrote his celebrated Piano Concerto in A minor, the opening of which most people will recognise when they hear it.
It really is a marvellous work and is surprisingly the only piece of considerable length and development that Grieg composed.
He was a master at producing short folk-style pieces and never felt driven to write in the long extended forms that many of his contemporaries were employing.
He did have a go at writing a second piano concerto but soon gave up, realising that works on this scale were not his strong point.
He appears to have been an endearing man, treasuring his nationalistic traditions and taking an active stance in promoting new and young talent by founding the Norwegian Academy of Music.
He was also a marvellous after-dinner speaker with a wit that was much appreciated by all who heard him.
He was for the most part of his life a lonely figure, despite marrying his cousin Nina Hagerup in 1866.
He still stands alone as being the only composer of note to have emerged from Norway.
Piano Concerto in A Minor
Piano Concerto in A Minor Op. 16: Allegro molto moderato
1869, Concerti, Orchestral
‘The Chopin of the North’ was one great pianist’s name for Edvard Grieg, and certainly this piano concerto does recall Chopin, who was Grieg’s favourite composer.
Spiritually, as well as musically, the two had much in common.
In Chopin’s mazurkas and polonaises we hear the voice of his native Poland alternately lamenting and exulting over the tragedy and the heroism of his suffering people. Although Grieg’s Norway had no such tragic history, his country was not happy under the rule of the Swedish king, and their longing for independence gained a national musical voice in the personage of Grieg, whose music was the first to sing an unmistakable language of the North.
Grieg was only twenty-five and newly married when he wrote this concerto during a summer holiday in Denmark. It was first performed in Copenhagen in April 1869, but in the following year Grieg visited Liszt, who made some suggestions as to how the piece might be improved, which the Norwegian readily incorporated. In fact, Grieg continued revising his concerto well into later life, even though it had become one of the most popular concertos around.
The first movement (Allegro moderato) begins with brilliant crashing chords and octaves from the piano that cover the entire keyboard from top to bottom before sweeping up in waves to allow the woodwinds softly to introduce the main theme. A second theme is brought up by the cellos and taken up by the soloist before the entire orchestra enters, and the movement ends with an exciting cadenza for the piano.
The second movement (Adagio) is slow and tender, and is really an introduction for the powerful finale. This is, quite literally, a whirlwind of music built around the rhythm of a popular Norwegian folk dance. Its conclusion is majestic.
Four Norwegian Dances
Four Norwegian Dances Op. 35
Orchestral
These short, yet delightful dances were once described as ‘gorgeous lollipops’.
Lyric Pieces
Keyboard Works
A collection of endlessly enjoyable piano pieces – some of which are light and charming whilst others are deeply affecting.
Homage March
Sigurd Jorsalfar: ‘Homage March’
1872, Orchestral
Though credited to Grieg, the Homage March was originally written by Wagner in 1864 to be played by a military band for King Ludwig II of Bavaria. However, it gained popularity when Grieg reorchestrated it for incorporation in his music for the play ‘Sigurd Jorsalfar’ in 1872.
Sigurd Jorsalfar
1872, Orchestral
Written in 1872, Sigurd Jorsalfar is based on an episode from a Scandinavian saga called the ‘Heimskringla’ and is sometimes known as ‘Sigurd the Crusader’.
When King Magnus Barefoot died in 1103 he arranged that his three sons Olaf, Oystein and Sigurd should rule Norway jointly. Olaf died young and the country was left with a dual monarchy, giving Sigurd the chance to set off on a pilgrimage to Jerusalem (‘Jorsalfar’ means ‘traveller to Jerusalem’). The play deals with the rivalry between the two brothers before Sigurd sets off on his travels.
Grieg was aware that audiences often had difficulty in listening to both words and music at the same time. As a result, he produced incidental music that often finished at the exact point that someone would start speaking.
Peer Gynt: ‘Morning’
Peer Gynt Suite No. 1: ‘Morning’
1876, Orchestral
Unquestionably Grieg’s most famous work, the Peer Gynt Suites nos. 1 and 2 were written as incidental music for a theatrical production of Ibsen’s drama. They are made up of eight pieces, though in performance only four are usually played.
‘Morning’, from Suite No. 1, is instantly recognisable by the lilting flute opening that delivers the theme for the rest of the movement. The piece is fittingly titled, as one can imagine a sunrise bring accompanied perfectly by this music.
Peer Gynt: ‘Arabian Dance’
Peer Gynt Suite No. 2: ‘Arabian Dance’
1876, Orchestral
Unquestionably Grieg’s most famous work, the Peer Gynt Suites nos. 1 and 2 were written as incidental music for a theatrical production of Ibsen’s drama. They are made up of eight pieces, though in performance only four are usually played.
The ‘Arabian Dance’, from Suite No. 2, is a lively and aggressive piece with violent displays from the strings.
Holberg Suite
Holberg Suite Op. 40: ‘Prelude’
1884, Chamber Music
This suite for strings, officially called ‘From Holberg’s Time’, is full of charm and cleverly re-creates the atmosphere of the eighteenth century.
Symphonic Dances
1898, Orchestral
Originally written as a piano duet, these four pieces were later orchestrated and are often seen as the Norwegian equivalent of Dvorák’s ‘Slavonic Dances’.