Group photograph showing Edvard Grieg, Percy Grainger, Nina Grieg and Julius Rontgen, at Grieg’s home, Troldhaugen, in July 1907 (Photo credit: Wikipedia)
Group photograph showing Edvard Grieg, Percy Grainger, Nina Grieg and Julius Rontgen, at Grieg’s home, Troldhaugen, in July 1907 (Photo credit: Wikipedia)
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Tagged Compact Disc, Edvard Grieg, Grieg, In the Hall of the Mountain King, Jean Sibelius, Julius Rontgen, London, Ludwig van Beethoven, lyric pieces, Nina Grieg, Orchestra, Percy Grainger, Piano Concerto (Grieg), Stephen Hough, Wedding Day at Troldhaugen
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Tagged american revolutionary war, Anton Schindler, Associated Press, Chur, Copenhagen, Danish language, Elegiac Melodies for Orchestra, Great Compositions/Performances, Grieg, Hashish, Hells Angels, Hippie, Life annuity, Mengelberg, Mengelberg - Grieg - Two Elegiac Melodies for Orchestra, Nina Hagerup, op. 34, oslo, Switzerland Grieg, Willem Mengelberg
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Tagged 1936 Winter Olympics, Adam Driver, Ageing, Amanda Seyfried, Andrew Collins (broadcaster), Danish language, Edvard Grieg, Great Compositions/Performances, Grieg, Grieg: Peer Gynt, Henrik Ibsen, In the Hall of the Mountain King, Mountain King, Norway, Op. 23 - (IX. In the Hall of the Mountain King), peer gynt, William Shakespeare
1. The wounded heart
2. Last Spring
Willem Mengelberg
Born: March 28, 1871 – Utrecht, Holland
Died: March 21, 1951 – Chur, Switzerland
Grieg(1843-1907)
In the late 1860s Grieg married his cousin, Nina Hagerup, and settled in Christiania (now much less charmingly named Oslo). Life couldn’t have been easy, eking out a living from teaching and conducting, particularly as his over-zealous studies in Leipzig had permanently damaged his health. Then, in 1874, still aged only 31, came a stroke of good fortune: he was awarded a life annuity from the Norwegian government (nice work if you can get it!). Maybe he isn’t exactly a “front rank” composer, but his music is equally capable of charming the simple soul (like me) as it is the not so simple (like Liszt).
A composer of several choral works, reams of piano pieces, some chamber music, and a fair stack of orchestral music, Grieg generally shunned larger-scale forms (his celebrated Piano Concerto being the best-known exception), believing that his strengths lay in the more intimate forms associated with his native Norwegian folk culture. On the alter-stone of this credo he lay over 120 songs, many of which were inspired not only by Norway but also by Nina who, being a soprano, was equally often the intended interpreter.
The Two Elegaiac Melodies op. 34 are an arrangement for string orchestra of two songs from his op. 33. Shorn of their vocal element, both nevertheless reveal their provenance through the richly-inflected speech-rhythms of their melodic lines, simple and direct in their appeal to the listener’s emotions. Heart’s Wounds is the more overtly passionate, developing a strong compulsion in its central episode, while Last Spring (that’s “Last” as in “final” rather than “previous”) is generally more circumspect, tender, and achingly regretful.
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Tagged Australian National University, Board of directors, Business, Charles Stewart Mott Foundation, Chur, Comedian, Duty-free shop, Elegiac Melodies for Orchestra, Epicor, EUZICASA, Great Compositions/Performances, Grieg, Mengelberg, Mengelberg - Grieg - Two Elegiac Melodies for Orchestra, Nina Hagerup, Norway, Op 3, oslo, Politics of Norway, Switzerland Grieg, Willem Mengelberg
1. 00:00 Praludium
2. 03:01 Sarabande
3. 08:27 Gavotte
4. 12:31 Air
5. 20:21 Rigaudon
******************************************************************
***Nagoya Streichersolisten Summer Concert 2012
(directed By Kato Akira)
NOTE: We are the amateur string orchestra playing in Nagoya Japan.
Summer concerts are held once a year.
http://ngs.sakuraweb.com
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Tagged alexander glazunov, Anna Clyne, Arkhangelsk, Artistic director, グリーグ ホルベルク組曲, Edvard Grieg, EUZICASA, Great Compositions/Performances, Grieg, Holberg Suite, Holberg Suite Op. 40, Johann Sebastian Bach, Orchestra, Symphony No. 34 (Mozart), Tempo
[youtube.com/watch?v=fFc3Xk5bsO0]
Edvard Grieg was much in demand as a soloist in the latter part of his life. His many short works for piano solo, as well as his famous concerto, led to his music being well known and loved across Europe. He left a number of piano rolls, but more importantly in 1903 he recorded a few records for the G&T company in Paris. These show his spirited and fresh approach to performing his own works. His style is flexible, charming, by turns sometimes capricious, but always controlled within the bounds of impeccable taste and musical understanding.
Some stimulating comparisons and distinctions can be made between Grieg’s own performances and those of Arthur de Greef (whose playing Grieg very much liked), as well recordings by other pianists from the first few decades of the 20th century.
I rather feel that Grieg’s own way with is own works is generally a much better way than we hear them performed now, and which was already being eroded by other younger pianists even when these records were made.
This recording is of a Welte piano roll made by Grieg in 1906. It makes for good comparison with his acoustic recording of 1903.
[youtube.com/watch?v=Voo2zH_DZdE]“I dedicate this music that fills my heart with joy to all my friends with all my love, appreciation and hope for a better tomorrow!”
The movements of the suite are:
Nagoya Streichersolisten Summer Concert 2012 directed By Kato Akira
We are the amateur string orchestra playing in Nagoya Japan.
Summer concerts are held once a year.
http://ngs.sakuraweb.com
From Wikipedia, the free encyclopedia
The Holberg Suite, Op. 40, more properly “From Holberg’s Time” (Norwegian: Fra Holbergs tid, German: Aus Holbergs Zeit), subtitled “Suite in olden style” (Norwegian: Suite i gammel stil, German: Suite im alten Stil), is a suite of five movements based on eighteenth century dance forms, written by Edvard Grieg in 1884 to celebrate the 200th anniversary of the birth of Danish-Norwegian humanist playwright Ludvig Holberg.
It exemplifies
nineteenth century music which makes use of musical styles and forms from the preceding century. It can be compared with Franz Liszt‘s À la Chapelle Sixtine, S.360 (1862) and contrasted with later neoclassical works.
The Holberg Suite was originally composed for the piano, but a year later was adapted for string orchestra. The suite consists of an introduction and a set of dances. It is a charming, early essay in neo-classicism, an attempt to echo as much as was known in Grieg’s time of the music of Holberg’s era.[1]
Although it is not as famous as Grieg’s incidental music from Peer Gynt, which is itself usually performed as arranged in a pair of suites, many critics regard the works as of equal merit.[2
[youtube.com/watch?v=mD1lFO6dLPo]
Leif Ove Andsnes, piano.
Berliner Philharmoniker, conducted by Mariss Jansons.
The concerto is in three movements:
*Allegro molto moderato (A minor)
*Adagio (D flat major)
*Allegro moderato molto e marcato – Quasi presto – Andante maestoso (A minor → F major → A minor → A major)
The first movement is noted for the timpani roll in the first bar that leads to a dramatic piano flourish. The movement is in the Sonata form. The movement finishes with a virtuosic cadenza and a similar flourish as in the beginning.
The second movement is a lyrical movement in D flat major, which leads directly into the third movement.
The third movement opens in A minor 4/4 time with an energetic theme (Theme 1), which is followed by a lyrical 3/4 theme in F Major (Theme 2). The movement returns to Theme 1. Following this recapitulation is the 3/4 A Major Quasi presto section, which consists of a variation of Theme 1. The movement concludes with the Andate maestoso in A Major (or in A mixolydian), which consists of a dramatic rendition of Theme 2 (as opposed to the lyrical fashion with which Theme 2 is introduced).
Performance time of the whole concerto is around 28 minutes.
Edvard Grieg: Born in Bergen 1843.
After being taught piano by his mother, he went to the Leipzig Conservatory at the age of 15 to study music where his teachers included Ignaz Moscheles and Carl Reinecke. He then lived in Copenhagen and came under the influence of Niels W.
Gade who encouraged him to compose a symphony and there also met fellow Norwegian composer Rikard Nordraak who inspired Grieg to champion the cause of Norwegian music. He went on to become his country’s greatest and most famous composer who excelled in many genres including orchestral, chamber, solo piano, vocal and choral. His output of purely orchestral music was small but included
his Piano Concerto, Symphonic Dances and the 2 Suites derived from his incidental music to Ibsen’s “Peer Gynt.”
Painters:
Ludvig Skramstad
Nils Hansteen
Philip Barlag
Ole Juul
Thorolf Holmboe
Sophus Jacobsen
Lyder Wenzel Nicolaysen
Niels Björnson Möller
Posted in Educational, IN THE SPOTLIGHT, MEMORIES, PEOPLE AND PLACES HISTORY, GEOGRAPHY, Uncategorized, YouTube/SoundCloud: Music, Special Interest
Tagged berliner philharmoniker, Copenhagen, D-flat major, Edvard Grieg, Grieg, leif ove andsnes, mariss jansons, Piano concerto, Piano Concerto in A minor, sonata, Tempo
[youtube.com/watch?v=pNPVwnMCpjQ]
Edvard Grieg (1843-1907)
To Melodier, Op. 53 (1890)
1. Norsk
Norwegian Chamber Orchestra conducted by Terje Tonnesen
Editor:First edition
Publisher Info.:Leipzig, C.F. Peters, n.d.(1891). Plate 7628.
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Tagged Bergen, C.F. Peters, Classical music, Edvard Grieg, Grieg, In the Hall of the Mountain King, lyric pieces, Norsk Norwegian Chamber Orchestra, Norway, Olav Trygvason, Piano concerto, Sigurd Jorsalfar, Wedding Day at Troldhaugen
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Grieg plays “Wedding Day at Troldhaugen” (Recorded 1903)
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| “Wedding Day at Troldhaugen” (Norwegian: Bryllupsdag på Troldhaugen) is a musical piece composed by Edvard Grieg.[n 1][1] It is the sixth piano piece in the eighth book of his Lyric Pieces, bearing the opus number 65. There has been some discussion about the quality and proportion of this composition in relation to the whole book.[2] | |
Originally called “Gratulanterne kommer” (The well-wishers are coming),[3][4] it was written in 1896 as a memorial of the 25th wedding anniversary of Grieg and his wife Nina.[5] The anniversary celebration had been held in the Fossli Hotel near the Vøringsfossen waterfall in June 1892. Grieg and his wife celebrated their wedding anniversary with Borre and Nancy Giertsen. Nancy was the sister of Marie Beyer, then married to Frants Beyer, Grieg’s best friend. She belonged to their closest circle of friends at Troldhaugen. During the occasion a guest book was ready to take contributions from all the guests.
Grieg gave the work its final title in 1897 when he compiled Book VIII, Op. 65, of his Lyric Pieces. The work’s festive first section describes congratulations and best wishes that are given by the guests to the newlyweds; the second section is reflective and subdued.
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