Grieg_-_Piano_Music_Vol.12_(Naxos_553398)-1995-FERiCE

Tracklist (M3U)
# Filename Artist Songname Bitrate BPM
1 01_agitato_eg_106-ferice.mp3 Grieg agitato eg 106 192 Unknown
2 02_norwegian_dances_-_i._allegro_marcato-ferice.mp3 Grieg norwegian dances - i. allegro 192 Unknown
3 03_norwegian_dances_-_ii._allegretto_tranquillo_e_grazioso-ferice.mp3 Grieg norwegian dances - ii. allegre 192 Unknown
4 04_norwegian_dances_-_iii._allegro_moderato_alla_marcia-ferice.mp3 Grieg norwegian dances - iii. allegr 192 Unknown
5 05_norwegian_dances_-_iv._allegro_molto-ferice.mp3 Grieg norwegian dances - iv. allegro 192 Unknown
6 06_albumblad_eg_109_(album_leaf)-ferice.mp3 Grieg albumblad eg 109 (album leaf) 192 Unknown
7 07_waltz_caprices_op.37_-_tempo_di_valse_moderato-ferice.mp3 Grieg waltz caprices op.37 - tempo d 192 Unknown
8 08_waltz_caprices_op.37_-_tempo_di_valse-ferice.mp3 Grieg waltz caprices op.37 - tempo d 192 Unknown
9 09_johan_halvorsen_-_the_entry_of_the_boyars_(arr._for_piano)-ferice.mp3 Grieg johan halvorsen - the entry of 192 Unknown
10 10_peer_gynt_op.23_-_prelude_to_act_iii_-_the_death_of_ase-ferice.mp3 Grieg peer gynt op.23 - prelude to a 192 Unknown
11 11_peer_gynt_op.23_-_arabian_dance-ferice.mp3 Grieg peer gynt op.23 - arabian danc 192 Unknown
12 12_peer_gynt_op.23_-_anitras_dance-ferice.mp3 Grieg peer gynt op.23 - anitras danc 192 Unknown
13 13_peer_gynt_op.23_-_solveigs_song-ferice.mp3 Grieg peer gynt op.23 - solveigs son 192 Unknown
14 14_peer_gynt_op.55_no.5_-_dance_of_the_mountain_kings_daughter-ferice.mp3 Grieg peer gynt op.55 no.5 - dance o 192 Unknown
15 15_sigurd_jorsalfar_op.56_piano_transcription_-_introduction_-_trial_of_strength-ferice.mp3 Grieg sigurd jorsalfar op.56 piano t 192 Unknown
16 16_sigurd_jorsalfar_op.56_piano_transcription_-_intermezzo_-_borghilds_dream-ferice.mp3 Grieg sigurd jorsalfar op.56 piano t 192 Unknown
17 17_sigurd_jorsalfar_op.56_piano_transcription_-_homage_march-ferice.mp3 Grieg sigurd jorsalfar op.56 piano t 192 Unknown
NFO
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He showed a string interest in music at ▒ ░▒ ▒░ ▒ very early age, and after encouragement by violinist ▒ ░▒ ▒░ ▒ and composer, Ole Bull (1810-1880), he was sent to ▒ ░▒ ▒░ ▒ the Conservatory in Leipzig at the age of fifteen to ▒ ░▒ ▒░ ▒ receive his music education. At the conservatory he ▒ ░▒ ▒░ ▒ received a fundamental and solid training, and ▒ ░▒ ▒░ ▒ through the city's active musical life, he received ▒ ░▒ ▒░ ▒ impressions, and heard music, which would leave ▒ ░▒ ▒░ ▒ their stamp on him for the rest of his life, for ▒ ░▒ ▒░ ▒ better of for worse. Even though he severely ▒ ░▒ ▒░ ▒ critized the conservatory, especially towards the ▒ ░▒ ▒░ ▒ end of his life, in reality he was recognised as a ▒ ░▒ ▒░ ▒ great talent, and one sees in his sketchbooks and ▒ ░▒ ▒░ ▒ practices from the Leipzig period that he had the ▒ ░▒ ▒░ ▒ freedom to experiment as well. He had no basis for ▒ ░▒ ▒░ ▒ critizing the conservatory or his teachers for poor ▒ ░▒ ▒░ ▒ teaching or a lack of understanding. ▒ ░▒ ▒░ ▒ ▒ ░▒ ▒░ ▒ From Leipzig Grieg travelled to Copenhagen, bringing ▒ ░▒ ▒░ ▒ with him the solid musical training he had acquired, ▒ ░▒ ▒░ ▒ and there soon became known as a promising young ▒ ░▒ ▒░ ▒ composer. It was not long before he came under the ▒ ░▒ ▒░ ▒ influence of Rikard Nordraak, whose glowing ▒ ░▒ ▒░ ▒ enthusiasm and unshakeable belief that the key to a ▒ ░▒ ▒░ ▒ successful future for Norwegian music lay in ▒ ░▒ ▒░ ▒ nationalism, in the uniquely Norwegian, the music of ▒ ░▒ ▒░ ▒ the people -folk-songs- came to play a decisive r"le ▒ ░▒ ▒░ ▒ in Grieg's development as a composer. Nordraak's ▒ ░▒ ▒░ ▒ influence is most obvious in the "Humoresques for ▒ ░▒ ▒░ ▒ Piano, Op.6", which was considered a turning-point ▒ ░▒ ▒░ ▒ in Grieg's career as a composer. ▒ ░▒ ▒░ ▒ ▒ ░▒ ▒░ ▒ In the Autumn of 1866, Grieg settled in Christiania ▒ ░▒ ▒░ ▒ (Oslo). In 1874 Norway's capital was the centre for ▒ ░▒ ▒░ ▒ his activities. During this time he also wrote the ▒ ░▒ ▒░ ▒ majority of the works which laid the foundation for ▒ ░▒ ▒░ ▒ his steadily increasing fame. In spite of his poor ▒ ░▒ ▒░ ▒ health -he had had a defective lung ever since ▒ ░▒ ▒░ ▒ childhood- Grieg was constantly on concert-tour as ▒ ░▒ ▒░ ▒ pianist or a conductor, always with his own works on ▒ ░▒ ▒░ ▒ the programme. After his last concert-tour 1907, ▒ ░▒ ▒░ ▒ Grieg wrote to his friend Frants Beyer. ▒ ░▒ ▒░ ▒ ▒ ░▒ ▒░ ▒ "This Tour has been strange. The Audiences have been ▒ ░▒ ▒░ ▒ on my Side. In Germany I have received more acclaim ▒ ░▒ ▒░ ▒ for my ART than ever before. Byt the Critics both in ▒ ░▒ ▒░ ▒ Munich and in Berlin have let me known in no ▒ ░▒ ▒░ ▒ uncertain terms, that they think I am a dead Man. ▒ ░▒ ▒░ ▒ That is my punishment for my lack of Productivity in ▒ ░▒ ▒░ ▒ these last Years, which my wretched physical ▒ ░▒ ▒░ ▒ condition has caused. It is a hard and undeserved ▒ ░▒ ▒░ ▒ Punishment -but I comfort myself with the thought ▒ ░▒ ▒░ ▒ that it is not the Critics, who govern the world." ▒ ░▒ ▒░ ▒ (Letter to Frants Beyer, 5th March 1907). ▒ ░▒ ▒░ ▒ ▒ ░▒ ▒░ ▒ More clearly than anything else, this letter shows a ▒ ░▒ ▒░ ▒ trend which Grieg experienced in his later years in ▒ ░▒ ▒░ ▒ relation to his music. It was also a development ▒ ░▒ ▒░ ▒ which would continue internationally until long ▒ ░▒ ▒░ ▒ after his death. Within the music "establishment", ▒ ░▒ ▒░ ▒ there was an increasing number of people who ▒ ░▒ ▒░ ▒ gradually became more critical towards Grieg's music ▒ ░▒ ▒░ ▒ as well as his abilities and talent as a composer. ▒ ░▒ ▒░ ▒ In the meantime his popularity among the average ▒ ░▒ ▒░ ▒ music-loving audience increased in inverse ▒ ░▒ ▒░ ▒ proportion. Grieg experienced some of the greatest ▒ ░▒ ▒░ ▒ demonstrations of his general popularity during the ▒ ░▒ ▒░ ▒ last years of his life, when, in spite of his ▒ ░▒ ▒░ ▒ greatly weakened health, he was continually on ▒ ░▒ ▒░ ▒ concert-tour, in popular demand by concert-managers ▒ ░▒ ▒░ ▒ from all over the world. The critics, however, were ▒ ░▒ ▒░ ▒ sceptical and to a point condescending, and there is ▒ ░▒ ▒░ ▒ no doubt that Grieg felt hurt by their attitude: ▒ ░▒ ▒░ ▒ ▒ ░▒ ▒░ ▒ "I cannot be blamed if my music is played in ▒ ░▒ ▒░ ▒ third-rate hotels and by school-girls. I could not ▒ ░▒ ▒░ ▒ have created my music and other way, even though I ▒ ░▒ ▒░ ▒ did not have my audience in mind at the time. I ▒ ░▒ ▒░ ▒ suppose this popularity is all right, but it is ▒ ░▒ ▒░ ▒ dearly bought. My reputation as a composer is ▒ ░▒ ▒░ ▒ suffering because of it, and the criticism is ▒ ░▒ ▒░ ▒ disparaging." ▒ ░▒ ▒░ ▒ ▒ ░▒ ▒░ ▒ From early on Grieg was labelled a composer of the ▒ ░▒ ▒░ ▒ small forms. His indisputable lyrical ability and ▒ ░▒ ▒░ ▒ talent were never doubted, but apart from some very ▒ ░▒ ▒░ ▒ few works such as the "Piano Concerto in A minor, ▒ ░▒ ▒░ ▒ Opus 16", and the "String Quartet in G minor, Opus ▒ ░▒ ▒░ ▒ 27", "Piano Sonata in E minor, Opus 7", the three ▒ ░▒ ▒░ ▒ "Violin Sonatas, Opus 8 in F major, Opus 13 in G ▒ ░▒ ▒░ ▒ major and Opus 45 in C minor", and the "Cello Sonata ▒ ░▒ ▒░ ▒ in A minor, Opus 36", he was not able, in spite of ▒ ░▒ ▒░ ▒ his many and desperate attemps, to feel at home with ▒ ░▒ ▒░ ▒ more extended musical forms. He felt that this was a ▒ ░▒ ▒░ ▒ shortcoming, and unfairly blamed his education at ▒ ░▒ ▒░ ▒ the Leipzig Conservatory. Nevertheless, he also ▒ ░▒ ▒░ ▒ showed that he could master these forms when on rare ▒ ░▒ ▒░ ▒ occasions he found raw musical material that could ▒ ░▒ ▒░ ▒ be reworked and treated within the traditional ▒ ░▒ ▒░ ▒ sonata-form. The only problem was that the musical ▒ ░▒ ▒░ ▒ material to which he felt closest and by which he ▒ ░▒ ▒░ ▒ was most fascinated, was of another quality and ▒ ░▒ ▒░ ▒ character. ▒ ░▒ ▒░ ▒ ▒ ░▒ ▒░ ▒ Grieg's encounter with Norwegian folk-music, and his ▒ ░▒ ▒░ ▒ assimilation of essential features form this music, ▒ ░▒ ▒░ ▒ released certain aspects of his own creativity that ▒ ░▒ ▒░ ▒ soon led to his music being, for many, identical ▒ ░▒ ▒░ ▒ with folk-music. By some, he was considered more or ▒ ░▒ ▒░ ▒ less simply an arranger of folk-music, and that hurt ▒ ░▒ ▒░ ▒ him very deeply: ▒ ░▒ ▒░ ▒ ▒ ░▒ ▒░ ▒ "In my Op.17 and 66, I have arranged folk-songs for ▒ ░▒ ▒░ ▒ the piano, in Op. 30, I have freely rendered folk ▒ ░▒ ▒░ ▒ ballads for the male voice. In three of four of my ▒ ░▒ ▒░ ▒ remaining works, I have attempted to use Norwegian ▒ ░▒ ▒░ ▒ songs thematically. And since I have published up to ▒ ░▒ ▒░ ▒ 70 works by now, I should be allowed to say that ▒ ░▒ ▒░ ▒ nothing is more incorrect that the claim from ▒ ░▒ ▒░ ▒ certain German critics that my so-called originality ▒ ░▒ ▒░ ▒ is limited to my borrowing from folk-music. It is ▒ ░▒ ▒░ ▒ quite another thing if a nationalistic spirit, which ▒ ░▒ ▒░ ▒ has been expressed through folk-music since ancient ▒ ░▒ ▒░ ▒ times, hovers over my original creative works". ▒ ░▒ ▒░ ▒ (Letter to Henry T. Finck, 17.7.1990). ▒ ░▒ ▒░ ▒ ▒ ░▒ ▒░ ▒ Much of the instrumental Norwegian folk music is ▒ ░▒ ▒░ ▒ built up of small melodic themes, almost units, ▒ ░▒ ▒░ ▒ which are repeated with small variations in ▒ ░▒ ▒░ ▒ appoggiatura and sometimes with rhythmic ▒ ░▒ ▒░ ▒ displacements. Sections are then joined together to ▒ ░▒ ▒░ ▒ form larger units. We seldom find any true ▒ ░▒ ▒░ ▒ development as it is understood in traditional ▒ ░▒ ▒░ ▒ classical music. This becomes especially clear to us ▒ ░▒ ▒░ ▒ through his piano music. That is why also became so ▒ ░▒ ▒░ ▒ difficult to distinguish between what in Grieg's ▒ ░▒ ▒░ ▒ works came originally from folk-music, and what was ▒ ░▒ ▒░ ▒ his own composition. This must also have been ▒ ░▒ ▒░ ▒ especially difficult for foreign critics and ▒ ░▒ ▒░ ▒ audiences. ▒ ░▒ ▒░ ▒ ▒ ░▒ ▒░ ▒ In Grieg's music there are two features which ▒ ░▒ ▒░ ▒ particularly attract our attention, rhythm and ▒ ░▒ ▒░ ▒ harmony. In many instances Grieg's rhythm in his ▒ ░▒ ▒░ ▒ piano compositions, is often taken from the ▒ ░▒ ▒░ ▒ folk-dance, as well as from compositions which are ▒ ░▒ ▒░ ▒ not based upon folk-music. He placed great emphasis ▒ ░▒ ▒░ ▒ on the rhythmic, and considered it paramount in the ▒ ░▒ ▒░ ▒ presentation of his works which have dance as the ▒ ░▒ ▒░ ▒ point of departure. He was of the opinion that in ▒ ░▒ ▒░ ▒ order to be able to play one of his compositions, ▒ ░▒ ▒░ ▒ one had to know, and feel, the dance rhythm. ▒ ░▒ ▒░ ▒ Characteristic of the understanding of rhythmic, is ▒ ░▒ ▒░ ▒ the story about the meeting between Grieg and Ravel ▒ ░▒ ▒░ ▒ in Paris in 1894 at the home of William Molard: ▒ ░▒ ▒░ ▒ ▒ ░▒ ▒░ ▒ "While the bright-eyed company discussed music, ▒ ░▒ ▒░ ▒ Ravel quietly went over to Molard's piano and began ▒ ░▒ ▒░ ▒ to play one of the master's 'Norwegian Dances'. ▒ ░▒ ▒░ ▒ Grieg listened with a smile, but then began to show ▒ ░▒ ▒░ ▒ signs of impatience, suddenly getting up and saying ▒ ░▒ ▒░ ▒ sharply: 'No, young man, not like that at all. Much ▒ ░▒ ▒░ ▒ more rhythm. It's a folk-dance, a peasant dance. You ▒ ░▒ ▒░ ▒ should see the peasant at home, with fiddler ▒ ░▒ ▒░ ▒ stamping in time with the music. Play it again!' And ▒ ░▒ ▒░ ▒ while Ravel played, the little man jumped up and ▒ ░▒ ▒░ ▒ skipped about the room to the astonishment of the ▒ ░▒ ▒░ ▒ company". ▒ ░▒ ▒░ ▒ ▒ ░▒ ▒░ ▒ Harmony is extremely central. Often it is the ▒ ░▒ ▒░ ▒ harmony itself which is the basis for the ▒ ░▒ ▒░ ▒ composition. Grieg pointed this out emphatically in ▒ ░▒ ▒░ ▒ letter to his biographer, Henry T. Finck: ▒ ░▒ ▒░ ▒ ▒ ░▒ ▒░ ▒ "The realm of harmony, has always been my ▒ ░▒ ▒░ ▒ dream-world, and my relationship, to this harmonious ▒ ░▒ ▒░ ▒ way of feeling and the Norwegian folk-songs, has ▒ ░▒ ▒░ ▒ been a mystery even for me. I have understood that ▒ ░▒ ▒░ ▒ the secret depth one finds in our folk-songs, is ▒ ░▒ ▒░ ▒ basically owing to the richness of their untold ▒ ░▒ ▒░ ▒ harmonic possibilities. In my reworking of the ▒ ░▒ ▒░ ▒ folk-songs Op.66, but also otherwise, I have ▒ ░▒ ▒░ ▒ attempted to express my interpretation, of the ▒ ░▒ ▒░ ▒ hidden harmonies, in our folk-songs." ▒ ░▒ ▒░ ▒ ▒ ░▒ ▒░ ▒ Grieg's interest in harmony became obvious to others ▒ ░▒ ▒░ ▒ already during his practice while attending the ▒ ░▒ ▒░ ▒ Conservatory. At that time it was first and foremost ▒ ░▒ ▒░ ▒ a desire to experiment. Later, harmony became his ▒ ░▒ ▒░ ▒ way of bringing forth the very "soul" of the ▒ ░▒ ▒░ ▒ folk-tunes. Among other things, he deliberately used ▒ ░▒ ▒░ ▒ unfamiliar, radical chord progressions in order to ▒ ░▒ ▒░ ▒ suggest the vague tonality (sotto voce semitones, ▒ ░▒ ▒░ ▒ vague thirds) such as one finds in many of the ▒ ░▒ ▒░ ▒ folk-songs, a melodic characteristic which would ▒ ░▒ ▒░ ▒ otherwise be impossible to achieve with an ▒ ░▒ ▒░ ▒ instrument like the piano. ▒ ░▒ ▒░ ▒ ▒ ░▒ ▒░ ▒ Grieg's instrument was primarly the piano. From his ▒ ░▒ ▒░ ▒ earliest years to his last concert-tour the year he ▒ ░▒ ▒░ ▒ died, he performed as a pianist with his own ▒ ░▒ ▒░ ▒ compositions. He was not a virtuoso, but his ▒ ░▒ ▒░ ▒ intimate familiarity with the piano allowed him to ▒ ░▒ ▒░ ▒ present his own music in such a way as to leave a ▒ ░▒ ▒░ ▒ deep and lasting impressing upon everyone who heard ▒ ░▒ ▒░ ▒ him to play. According to contemporary reports he ▒ ░▒ ▒░ ▒ had a marvellous ability to bring out the best, the ▒ ░▒ ▒░ ▒ very essence, of his own piano pieces. When he took ▒ ░▒ ▒░ ▒ his place on the platform, the atmosphere became ▒ ░▒ ▒░ ▒ electric, and the critics emphasized his refined ▒ ░▒ ▒░ ▒ touch, tone quality, and the complete absence of ▒ ░▒ ▒░ ▒ superficial gestures. ▒ ░▒ ▒░ ▒ ▒ ░▒ ▒░ ▒ Grieg's music contributed very modestly to the ▒ ░▒ ▒░ ▒ development of piano technique. Most of his piano ▒ ░▒ ▒░ ▒ pieces are technically speaking within the abilities ▒ ░▒ ▒░ ▒ of competent amateurs. This, together with musical ▒ ░▒ ▒░ ▒ characteristics which seem to have a stimulating and ▒ ░▒ ▒░ ▒ refreshing effect, contributed to the fact that he ▒ ░▒ ▒░ ▒ was one of the most played, and respected composers ▒ ░▒ ▒░ ▒ in Europe, admired if not by the critics, then at ▒ ░▒ ▒░ ▒ least by the majority of those interested in music. ▒ ░▒ ▒░ ▒ ▒ ░▒ ▒░ ▒ Grieg's compositions were written in the epoch of ▒ ░▒ ▒░ ▒ the piano. Music and piano playing in the average ▒ ░▒ ▒░ ▒ home were at a peak during the last half of the ▒ ░▒ ▒░ ▒ nineteenth century and the first decades of this ▒ ░▒ ▒░ ▒ century. Cyril Ehrlich has calculated that in 1910 ▒ ░▒ ▒░ ▒ alone, more than 600.000 pianos were produced. To ▒ ░▒ ▒░ ▒ know how to play the piano was part of general ▒ ░▒ ▒░ ▒ education in most middle class families, especially ▒ ░▒ ▒░ ▒ for girls. No wonder the music publishing house C.F. ▒ ░▒ ▒░ ▒ Peters "hoisted the flag" in London and Frankfurt ▒ ░▒ ▒░ ▒ every time Grieg delivered a manuscript for a new ▒ ░▒ ▒░ ▒ album of piano pieces. It is also understandable ▒ ░▒ ▒░ ▒ that Grieg sometimes experienced the demand for new ▒ ░▒ ▒░ ▒ piano pieces as a strain. There were also times when ▒ ░▒ ▒░ ▒ he felt that the production of piano pieces was a ▒ ░▒ ▒░ ▒ sort of bribe, or indulgence, to make sure that the ▒ ░▒ ▒░ ▒ publishing house issued his other works as well. In ▒ ░▒ ▒░ ▒ general, however, Grieg had an excellent ▒ ░▒ ▒░ ▒ relationship with his publisher in Leipzig. ▒ ░▒ ▒░ ▒ He was particularly close to Dr. Max Abraham ▒ ░▒ ▒░ ▒ (1831-1900), who has promoted to editor in 1863. ▒ ░▒ ▒░ ▒ This is clearly shown by the abundant correspondence ▒ ░▒ ▒░ ▒ that has been preserved. "Verlagsbuchhandlung C.F. ▒ ░▒ ▒░ ▒ Peters Bureau de Musique", was the full name of the ▒ ░▒ ▒░ ▒ publishing house that acted as Grieg's exclusive ▒ ░▒ ▒░ ▒ publisher from 1890, agreeing to pay him 4000 Marks ▒ ░▒ ▒░ ▒ every year, a sum which was adjusted to 6000 Marks ▒ ░▒ ▒░ ▒ in 1901. In return, Grieg was to offer Peters all ▒ ░▒ ▒░ ▒ his future compositions with rights for all ▒ ░▒ ▒░ ▒ countries, for a certain fee. ▒ ░▒ ▒░ ▒ ▒ ░▒ ▒░ ▒ Grieg experienced a great deal of adversity during ▒ ░▒ ▒░ ▒ certain periods of his life, but he also had more ▒ ░▒ ▒░ ▒ success than most other composer colleagues of his ▒ ░▒ ▒░ ▒ time. Nevertheless, he never lost feelings of unrest ▒ ░▒ ▒░ ▒ at not having developed his talent to the full ▒ ░▒ ▒░ ▒ degree, or having left something undone, something ▒ ░▒ ▒░ ▒ unfulfilled inside. Throughout his whole life, Grieg ▒ ░▒ ▒░ ▒ was a restless soul. He never felt completely at ▒ ░▒ ▒░ ▒ peace anywhere. When he was in Bergen, he longed for ▒ ░▒ ▒░ ▒ Kristiania, and when he was there he longed for ▒ ░▒ ▒░ ▒ Copenhagen and the continent. When he was abroad, he ▒ ░▒ ▒░ ▒ longer to be back home, but no sooner had he arrived ▒ ░▒ ▒░ ▒ in Bergen before he felt oppressed and restless and ▒ ░▒ ▒░ ▒ wanted to go off again. There were perhaps only two ▒ ░▒ ▒░ ▒ places where he really felt at home and satisfied: ▒ ░▒ ▒░ ▒ one, on the concert-platform, the other, in the ▒ ░▒ ▒░ ▒ Norwegian mountains, especially Jotunheimen. When he ▒ ░▒ ▒░ ▒ encountered his audience, or the powerful and free ▒ ░▒ ▒░ ▒ nature of the western part of Norway, he felt whole ▒ ░▒ ▒░ ▒ and complete. ▒ ░▒ ▒░ ▒ ▒ ░▒ ▒░ ▒ "Agitato, EG 106", was written in Copenhagen in ▒ ░▒ ▒░ ▒ January 1865, when Grieg was full of ideas for his ▒ ░▒ ▒░ ▒ first really personal works for the piano, the ▒ ░▒ ▒░ ▒ "Humoresques, Op.6" and "Piano Sonata, Op.7". This ▒ ░▒ ▒░ ▒ piece is clearly influenced by the virtuoso ▒ ░▒ ▒░ ▒ continental piano tradition, from which, only months ▒ ░▒ ▒░ ▒ later, he would distance himself. Doubtless this is ▒ ░▒ ▒░ ▒ the reason that he never tried to have it published. ▒ ░▒ ▒░ ▒ The work was printed for the first time in Volumen ▒ ░▒ ▒░ ▒ 20 of the complete collection of Grieg's works, the ▒ ░▒ ▒░ ▒ "Grieg Gesamtausgabe". ▒ ░▒ ▒░ ▒ ▒ ░▒ ▒░ ▒ "Norwegian Dances, Op.35", was originally written ▒ ░▒ ▒░ ▒ for piano duet in 1880. In 1887 Grieg reworked the ▒ ░▒ ▒░ ▒ dance for one player and both were published in the ▒ ░▒ ▒░ ▒ same year by Peters. Once again the composer turned ▒ ░▒ ▒░ ▒ the Lindeman's "Older and Newer Folk-Dances Music", ▒ ░▒ ▒░ ▒ as he so often had before, when not composing his ▒ ░▒ ▒░ ▒ own "folk-songs". The dances, the piano-duet version ▒ ░▒ ▒░ ▒ and the arrangement by Hans Sitt for orchestra, are ▒ ░▒ ▒░ ▒ among some of Grieg's best known and most often ▒ ░▒ ▒░ ▒ played compositions. ▒ ░▒ ▒░ ▒ ▒ ░▒ ▒░ ▒ "Album-Leaf, EG 109", was published in the ▒ ░▒ ▒░ ▒ collection "Piano Music by Nordic Composers", ▒ ░▒ ▒░ ▒ published by Carl Warmuth in Christiania in 1878. ▒ ░▒ ▒░ ▒ The composition presumably dates from the period of ▒ ░▒ ▒░ ▒ the last three of the four "Album-Leaf, Op.28", ▒ ░▒ ▒░ ▒ written between 1874 and 1878. ▒ ░▒ ▒░ ▒ ▒ ░▒ ▒░ ▒ The "Waltz-Caprices, Op.37", like the "Norwegian ▒ ░▒ ▒░ ▒ Dances, Op.35", were originally written for piano ▒ ░▒ ▒░ ▒ duet in 1883. In 1887 Grieg arranged the pieces for ▒ ░▒ ▒░ ▒ one player and they were published by Peters at the ▒ ░▒ ▒░ ▒ same time as Opus 35. Unlike the latter, however, ▒ ░▒ ▒░ ▒ there is here less that is Norwegian. This is ▒ ░▒ ▒░ ▒ elegant and effective drawing-room music. ▒ ░▒ ▒░ ▒ ▒ ░▒ ▒░ ▒ Johan Halvorsen (1864-1935) was an extremely ▒ ░▒ ▒░ ▒ talented violinist, conductor and composer, who ▒ ░▒ ▒░ ▒ worked closely with Grieg on several occasions. As a ▒ ░▒ ▒░ ▒ conductor for the theatre and the opera, first at ▒ ░▒ ▒░ ▒ the National Theatre in Bergen from 1893 and then ▒ ░▒ ▒░ ▒ from 1899 to 1920 for the National Theatre in ▒ ░▒ ▒░ ▒ Christiania (Oslo), he wrote effective music for a ▒ ░▒ ▒░ ▒ number of plays. In 1895, when he received the offer ▒ ░▒ ▒░ ▒ of a position at the conservatory in Bucharest, he ▒ ░▒ ▒░ ▒ wrote "The Entry March of the Boyars", which became ▒ ░▒ ▒░ ▒ one of the most popular works in Nordic orchestral ▒ ░▒ ▒░ ▒ repertoire. Grieg found the march so successful that ▒ ░▒ ▒░ ▒ he offered to rework Halvorsen's composition as a ▒ ░▒ ▒░ ▒ piano piece and the arrangement was published by ▒ ░▒ ▒░ ▒ Wilhelm Hansen in 1895. ▒ ░▒ ▒░ ▒ ▒ ░▒ ▒░ ▒ It is through his music for "Peer Gynt" more than ▒ ░▒ ▒░ ▒ anything else that Grieg's name is known throughout ▒ ░▒ ▒░ ▒ the world. The incidental music for Ibsen's play was ▒ ░▒ ▒░ ▒ first heard at the first performance of the play at ▒ ░▒ ▒░ ▒ the Christiania Theatre on 24th February, 1876, when ▒ ░▒ ▒░ ▒ it won immediate success. A month later Grieg had ▒ ░▒ ▒░ ▒ his piano arrangements of individual numbers ▒ ░▒ ▒░ ▒ published by Lose in Copenhagen. These arrangements ▒ ░▒ ▒░ ▒ were issued in several volumes, with two or three ▒ ░▒ ▒░ ▒ pieces in each. Only four were for piano solo, the ▒ ░▒ ▒░ ▒ rest for piano duet, as well as for voice and piano. ▒ ░▒ ▒░ ▒ Just before the performance of "Peer Gynt" at the ▒ ░▒ ▒░ ▒ Dagmar Theatre in Copenhagen in January 1886, ▒ ░▒ ▒░ ▒ Wilhelm Hansen published a new edition of Grieg's ▒ ░▒ ▒░ ▒ piano arrangements, with arrangements by Holger Dahl ▒ ░▒ ▒░ ▒ of eight new numbers. ▒ ░▒ ▒░ ▒ ▒ ░▒ ▒░ ▒ Grieg's own arrangement of "Dance of the Mountain ▒ ░▒ ▒░ ▒ King's Daughter, Op.23, No.9", was not included in ▒ ░▒ ▒░ ▒ the new collection, but he reworked the piece for ▒ ░▒ ▒░ ▒ piano solo in connection with the publication of the ▒ ░▒ ▒░ ▒ second "Peer Gynt Suite, Op.55". The dance was ▒ ░▒ ▒░ ▒ originally the fifth and last piece in the suite and ▒ ░▒ ▒░ ▒ this version was published by Peters in January ▒ ░▒ ▒░ ▒ 1893. The publication was temporarily recalled by ▒ ░▒ ▒░ ▒ Grieg himself, after he had had the opportunity to ▒ ░▒ ▒░ ▒ conduct the suite in Leipzig. He became convinced ▒ ░▒ ▒░ ▒ that the "Dance of the Mountain King's Daughter" ▒ ░▒ ▒░ ▒ should only be played in the Theatre: ▒ ░▒ ▒░ ▒ ▒ ░▒ ▒░ ▒ "I have now heard the piece... I have even conducted ▒ ░▒ ▒░ ▒ it, and with due respect and love for all trolls, in ▒ ░▒ ▒░ ▒ the final analysis we must show no mercy and cut it ▒ ░▒ ▒░ ▒ out". ▒ ░▒ ▒░ ▒ ▒ ░▒ ▒░ ▒ The incidental music for "Sigurd Jorsalfar", ▒ ░▒ ▒░ ▒ Bjornsterne Bjornson's historial drama, was written ▒ ░▒ ▒░ ▒ in 1872. The orchestral version of the original ▒ ░▒ ▒░ ▒ music was published by Lose in Copenhagen in 1874 ▒ ░▒ ▒░ ▒ and at the same time Grieg arranged three pieces for ▒ ░▒ ▒░ ▒ the piano. In 1892 he revised the work and the ▒ ░▒ ▒░ ▒ revised orchestral score and piano arrangements of ▒ ░▒ ▒░ ▒ these three pieces were issued by Peters in 1893 as ▒ ░▒ ▒░ ▒ Opus 56. In comparision with the earlier version, ▒ ░▒ ▒░ ▒ Opus 22, Grieg has made considerable harmonic ▒ ░▒ ▒░ ▒ changes. The third piece, "Homage March", has also ▒ ░▒ ▒░ ▒ been expanded in the new version, with a new ▒ ░▒ ▒░ ▒ introduction of five bars and a new trio section of ▒ ░▒ ▒░ ▒ 120 bars, in addition to twelve new bars added to ▒ ░▒ ▒░ ▒ the march itself. ▒ ░▒ ▒░ ▒ ▒ ░▒ ▒░ ▒ ▒ ░▒ ▒░ ▒ "To enable the wider non-Norwegian audience to ▒ ░▒ ▒░ ▒ experience directly orchestral excerpts, with the ▒ ░▒ ▒░ ▒ piano transcriptions of these orchestral ▒ ░▒ ▒░ ▒ compositions, in their original context, I have made ▒ ░▒ ▒░ ▒ use of the words spoken by actors and the choral ▒ ░▒ ▒░ ▒ text. In this way the listener may appreciate the ▒ ░▒ ▒░ ▒ atmosphere at the stage performance of these works. ▒ ░▒ ▒░ ▒ The words are all original, but of course this ▒ ░▒ ▒░ ▒ extends the boundaries of pure piano music. It is ▒ ░▒ ▒░ ▒ hoped that this solution will give the listener a ▒ ░▒ ▒░ ▒ better understanding of these works by Grieg. ▒ ░▒ ▒░ ▒ ▒ ░▒ ▒░ ▒ Einar Steen-Nokleberg ▒ ░▒ ▒░ ▒ ▒ ░▒ ▒░ ▒ ▒ ░▒ ▒░ ▒ ▒ ░▒ ▒░ ▒ - Einar Steen-Nokleberg - ▒ ░▒ ▒░ ▒ ▒ ░▒ ▒░ ▒ The Norwegian pianist Einar Steen-Nokleberg, an ▒ ░▒ ▒░ ▒ early winner of the German High School Piano ▒ ░▒ ▒░ ▒ Competition. Other prizes incude the Norwegian Piano ▒ ░▒ ▒░ ▒ Competition in 1972, and in 1975 the Norwegian ▒ ░▒ ▒░ ▒ Critics Prize for Best Performance, awarded after a ▒ ░▒ ▒░ ▒ performance of Grieg's "Piano Concerto" at the ▒ ░▒ ▒░ ▒ Bergen Festival. In 1976 he was honoured for the ▒ ░▒ ▒░ ▒ Norwegian recording of the Year for a recital of ▒ ░▒ ▒░ ▒ music by Norwegian Baroque composers. Other awards ▒ ░▒ ▒░ ▒ include the Grieg Prize in 1985 and in 1992. From ▒ ░▒ ▒░ ▒ 1975 to 1981 Einar Steen-Nokleberg was professor of ▒ ░▒ ▒░ ▒ piano at the Hanover Musikhochschule and in recent ▒ ░▒ ▒░ ▒ years has enjoyed an international career, with ▒ ░▒ ▒░ ▒ recitals throughout Europe, in the United States of ▒ ░▒ ▒░ ▒ America and in the former Soviet Union. ▒ ░▒ ▒░ ▒ ▒ ░▒ ▒░ ▒ ▒ ░▒ ▒░ ▒ ▒ ░▒ ▒░ ▒ Recorded at Lindeman Hall, Norwegian State Academy ▒ ░▒ ▒░ ▒ of Music, Oslo, from 12th to 14th February, 1994. ▒ ░▒ e░██ ██ ██ ██░e ▒░░▒e▒▒▒ ██ ██░e ▒░░▒e▒▒▒ ██ ██░e ▒░░▒e▒▒▒ ╔═════════════════════╗ ▒▒▒e▒░░▒ #░░ ▒ ║ Greetings To: ║ ▒ ░░# ▓ i░ ╚═════════════════════╝ ░i ▓ █▒ ▒█░ ░█▒ ▒█ █ █░ Amok - cnmc - AMRC - ViC - ss - tfamp3 - MTM - WoA ░█ █ ░▓ █ ░ FFF - BERC - NuHS - Tronik - DH - DRUM - aZTeK ░ █ ▓░ ▓▒ █*░ ░*█ ▒▓ ▓i█ ▓▓▓░# Especiales Saludos a Nuestros compatriotas de: #░▓▓▓ █i▓ ▒▓▓▒░ ░▒▓▓▒ ▓▒#░ &, StyLe ░#▒▓ ▓ ░░ #█W▓a ░░ ▓ ▓|░ ]M█▓&1 _ ░|▓ ▓ ~███M ,agMB##^MQw_ ▓ N▓▓█F% _pm▓▓▓DQ*"^"**%4&m ^&▓▓▓+p ,4KBQ0*^ "0@&, ▓ "#▓▓,^▓m*w,mpq#O#Mb&^ b#@N&▓▓ "-WQB███▓▓QRDN"~ mea▓qM███▓▓ ~^"~!^` `*▓▓█████▓ ~#&███▓f ^S██▓t Bw█▓ "Qp▓ R8▓ N uerzaspañola de eleasesndependientesonficiencia ^

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