Genre | Classical |
---|---|
Date (CEST) | 2006-04-23 20:17:51 |
Group | FERiCE |
Size | None MB |
Files | 17 |
M3U / SFV / NFO |
Grieg_-_Piano_Music_Vol.12_(Naxos_553398)-1995-FERiCE
Infos
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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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~~~` `~~~
░ ░
-░░+ Grieg Piano Music Vol.12 (Naxos 553398) +░░-
,▓░ ░▓,
▒░ Release Date:23-04-2006 ░▒
▒*░ ░░ Encoder:Lame v3.91 ░░ ░*▒
░░▓_ █▒ Company:Naxos ▒█ _▓░░
|▒ ▓▓ N▒▒ Genre:Classical ▒▒N ▓▓ ▒|
░░u▒▓ ░█▒ Year:1995 ▒█░ ▓▒u░░
▒▓▒ ▓░+▒ Ripper:Scherzo ▒+░▓ ▒▓▒
░▒░ ▓▓#▓▒ Supplier:Scherzo ▒▓#▓▓ ░▒░
░ ▓▒▒▒░ Songs:17 ░▒▒▒▓ ░
▒█▓░ Khz/Bitrate..44,1/ 192 ░▓█▒
▓██░ ░ ░ ░██▓
█▓▒ ▒, Track List: ,▒ ▒▓█
█ ▒▒ ▒▒ █
▓ ░▓ ▒▒░ 01 - agitato eg 106 [02:36] ░▒▒ ▓░ ▓
▓ ░▓ ▒▒░ 02 - norwegian dances - i. allegro marcato [06:36] ░▒▒ ▓░ ▓
▓ ░▓ ▒▒░ 03 - norwegian dances - ii. allegretto tranquil [02:25] ░▒▒ ▓░ ▓
▓ ░▓ ▒▒░ 04 - norwegian dances - iii. allegro moderato a [03:05] ░▒▒ ▓░ ▓
▓ ░▓ ▒▒░ 05 - norwegian dances - iv. allegro molto [05:55] ░▒▒ ▓░ ▓
▓ ░▓ ▒▒░ 06 - albumblad eg 109 (album leaf) [03:30] ░▒▒ ▓░ ▓
▓ ░▓ ▒▒░ 07 - waltz caprices op.37 - tempo di valse mode [05:51] ░▒▒ ▓░ ▓
▓ ░▓ ▒▒░ 08 - waltz caprices op.37 - tempo di valse [03:50] ░▒▒ ▓░ ▓
▓ ░▓ ▒▒░ 09 - johan halvorsen - the entry of the boyars [04:33] ░▒▒ ▓░ ▓
▓ ░▓ ▒▒░ 10 - peer gynt op.23 - prelude to act iii - the [04:23] ░▒▒ ▓░ ▓
▓ ░▓ ▒▒░ 11 - peer gynt op.23 - arabian dance [05:16] ░▒▒ ▓░ ▓
▓ ░▓ ▒▒░ 12 - peer gynt op.23 - anitras dance [03:30] ░▒▒ ▓░ ▓
▓ ░▓ ▒▒░ 13 - peer gynt op.23 - solveigs song [04:50] ░▒▒ ▓░ ▓
▓ ░▓ ▒▒░ 14 - peer gynt op.55 no.5 - dance of the mounta [01:42] ░▒▒ ▓░ ▓
▓ ░▓ ▒▒░ 15 - sigurd jorsalfar op.56 piano transcription [03:52] ░▒▒ ▓░ ▓
▓ ░▓ ▒▒░ 16 - sigurd jorsalfar op.56 piano transcription [03:37] ░▒▒ ▓░ ▓
▓ ░▓ ▒▒░ 17 - sigurd jorsalfar op.56 piano transcription [09:52] ░▒▒ ▓░ ▓
░ ▒ _▒░ ░▒_ ▒ ░
▒▒ ▓▓ ▓▓ ▒▒
░▒█ ▓▒u░ Total Length : [75:23 min ░u▒▓ █▒░
░▒▒ ░ ▒▓█ █▓▒ ░ ▒▒░
▒#▒ ░N░█ █░N░ ▒#▒
▒ ▒▒ ▓▓░ ░▓▓ ▒▒ ▒
▒9█ ▒ ▒ █9▒
░# S█ ▒ ▒ █S #░
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▒ 9▓a▓▓ ▓▓a▓9 ▒
* ░ ▒▓░█ █░▓▒ ░ *
▒░░ ▓█▓ ▓█▓ ░░▒
▒░░▒ ▓▓█ Description: █▓▓ ▒░░▒
▒░▒ # # ▒░▒
▒░ ▒ - Einar Steen-Nokleberg, Piano ▒ ░▒
▒░ ▒ - Rut Tellefsen, Narrador ▒ ░▒
▒░ ▒ ▒ ░▒
▒░ ▒ - Chamber Choir of the Norwegian State Institute of Music ▒ ░▒
▒░ ▒ - Stefan Schioll, Director ▒ ░▒
▒░ ▒ ▒ ░▒
▒░ ▒ ▒ ░▒
▒░ ▒ Edvard Grieg, was born in Bergen, on the west coast ▒ ░▒
▒░ ▒ of Norway. 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. ▒ ░▒
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