Highlights of Edvard Grieg’s Piano Music by Derek Yaple-Shobert
/ June 14, 2007
This year marks the Centennial of
Norwegian composer Edvard Grieg (1843-1907), undoubtedly Scandinavia’s
best-known composer, for whom numerous commemorative activities are
taking place throughout the world.
As a young man, Edvard Grieg attended
Europe’s most prestigious music institution, the Leipzig Conservatory,
fashioned by Mendelssohn and Schumann among others. He graduated
with high marks, but felt a need to write music that was distinctly
Norwegian and different from the Germanic trends of the time.
Rikard Nordraak, born a year before Grieg and composer of the Norwegian
national anthem, was a fervent believer in incorporating Norwegian folk
idioms into his own music. Perhaps because Grieg and he were very close
friends, compounded by the fact that Nordraak died at age 23, Grieg
made it his lifelong ambition to carry on Nordraak’s initial nationalistic
momentum. In many of Grieg’s opuses, one can hear the influence of
folk music and even folk instruments, such as the Hardanger fiddle,
an instrument from the region after which it was named. Beautifully
decorated with mother-of-pearl inlay and black pen-and-ink drawings,
this unique instrument is similar to a violin, but it has a set of four
or five sympathetic strings that runs underneath the fingerboard, giving
echoing overtones to the sound – a constant “drone.” Grieg
summons this sound on traditional instruments by the use of an open
5th (do & sol played simultaneously), flavouring much of his piano
music. Another example of his incorporating folk elements into music
is the evil, dark, mythological Norwegian Trolls, whom Grieg captures
in sound with low notes, minor chords and powerful sharp rhythms, evoking
a devilish atmosphere of terror. The Ballade, Opus 24, for piano,
is in the form of variations on a nostalgic Norwegian folk melody, where
the theme undergoes various treatments of numerous compositional and
pianistic techniques. Grieg claimed that his Ballade was his
finest work, “written with the blood of my heart in days of mourning
and despair,” following his parents’ deaths within weeks of each
other.
Somewhat standing on its
own is the neo-baroque Holberg Suite,
originally for solo piano, which Grieg then orchestrated into one of
the best-known suites of all time. The energetic, light and positive
style of the Holberg Suite marks
a delightful contrast to his other more brooding, darker works.
Grieg wrote the Suite to commemorate the 200th anniversary of
Ludwig Holberg, who also hailed from the town of Bergen. Norway and
Denmark were one country for over 300 years. It is interesting
to note that Holberg, considered the “Molière of the North” and
the “Father of Danish literature,” as well as Grieg, had gone to
live and work in Copenhagen, the only Scandinavian city rich in European
cultural life on an international level and certainly the musical capital
of the Nordic region. While Grieg lived there, one of Denmark’s most
significant 19th-century “Golden Age” composers, Niels W. Gade,
(pronounced GAH-the) strongly influenced the young Grieg, becoming his
first real musical idol. In fact, Gade’s emotionally charged Piano
Sonata in E Minor, Opus 28, markedly inspired Grieg’s own Piano
Sonata in E Minor, Opus 7. Both are written in the same key,
have four similarly structured movements and even contain some identical
motifs.
Grieg wrote over 120 art
songs, in large part because his Danish wife, Nina Hagerup, whom he
had met in Copenhagen, was a soprano. One of the challenges that face
singers today is that most of the songs are in Norwegian (including
dialects) or Danish. As an engagement gift to his future wife, Grieg
composed Melodies of the Heart, Opus 5, four songs set on poems
by the couple’s good friend (and still-famous Dane) Hans Christian
Andersen, including the famous Jeg elsker dig (I Love You).
Along with his art songs,
Grieg expressed himself most individually and successfully in the musical
miniature form, demonstrated in over 60 Lyrical Pieces for piano,
where he synthesised his fastidious taste, sense of the picturesque
and intense awareness of his folk heritage. One example is Opus 54,
which contains two of his best-known works, the March of the Trolls
and the famous romantic dream-like Nocturne,
both of which Grieg subsequently orchestrated. The last piece
of this colourful set, Ringing Bells, with its Debussy-like sound
effects, foreshadows the Impressionist Movement. Astoundingly, Maurice
Ravel said that Edvard Grieg had had the strongest influence on his
own music. Although a master of the concise form expressing the
“big in the small,” Grieg proved he could master larger forms. The
success of his Piano Concerto in A Minor, Opus 16,
for example, established his reputation as one of the foremost
composers of his time.
Grieg told people to visit
him in June (his birthday was June 15), when rivers and waterfalls flow
the fastest, mountaintops are still covered with snow, and yet flowers
are starting to bloom. Each June, the Bergen International Festival
pays tribute to Grieg through music, literature, theatre and dance,
culminating in a Gala concert which always features his Piano Concerto.
The festival exposes visitors to Grieg’s land, its local customs,
music, folk and peasant history, majestic fjords and ultimately adds
another dimension to understanding and appreciating his music. n
Websites relating to this article:
Grieg 2007: www.grieg07.no
Bergen International Festival:
www.fib.no
Derek Yaple-Schobert: www.yaple-schobert.com
On June 2, 2007, at 7:30 pm, Derek
Yaple-Schobert will perform as soloist in the Grieg Piano Concerto,
in an all-Grieg program, also featuring the Peer Gynt Suites and Songs
sung by soprano Sasha Djihanian-Archambault with the CAMMAC Orchestra
under Maestro Jean-Pascal Hamelin at the Lake MacDonaldMusic Centre
near Harrington, Québec. On June 15, Yaple-Schobert will perform a
solo recital featuring the Lyrical Pieces, Opus 54; Sonata, Opus 7;
Holberg Suite, Opus 40, and the Ballade, Opus 24, at the Norwegian Church
& Cultural Centre in Lachine. A
reception with Norwegian delicacies and traditional Norwegian costumes
worn will follow the performance. Proceeds will be donated to the Canadian-Scandinavian
Foundation. In July, Les Disques XXI will record Derek Yaple-Schobert
in the above solo repertoire, |
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