Solveigs Song, from Six Song Transcriptions, Op. 52, no. 4

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I must say each time I record I cringe when I hear the piano I have. I hope soon we do move house and I can finally get something better. I am also hoping to start some work for a music school and maybe then they might let me use one of their pianos. I had chucked the copy I had that was coupled with the Cradle Song after I had obtained op What was my horror when I realised that it was something else! What was my relief when I realised the one I knew was there, all the time, in the Peer Gynt album and I had never bothered to look!

Grieg: Works for Piano Vol 4 / Pompa-Baldi

The playing is pretty alright, but the section from 2: The second time you played it was somewhat better however. It sounds more like a march than a cradle song though. S Also think you could slow down slightly more towards the end to give more finality to the piece. Affinity , Oct 28, Aug 5, Messages: Chief Operating Officer, retired Location: Hi Richard, I just listened to this transcription. Had never heard it before.

I don't have the score, but it sounds convincing to me.

Rachfan , Oct 30, It seems only two people in the world have the score, but so much the better than one can listen without worrying: After the concert was over he commented on that, saying he had never felt so nervous in his life. My father also tells me that, when he was still in school, a violinist came to play for them and one of the pupils, who had liked a particular number, asked him to play it again. The violinist refused, saying that by playing a second time any differences errors, flubs or simply a different tempo would become immediately apparent.

It is a pity about the sound of the piano, but still I do not agree with Chris that the first bars sound terrirble: I find the piano sounds horrible throughout. Jun 14, Messages: I posted something here ten minutes ago, but it's gone Anyway, what I said Richard, is that I have not had a chance to listen to your recording yet.

Piano Transcriptions of Songs, Op.52 (Grieg, Edvard)

But I did download it onto my phone while on the train this morning, so maybe I will get a moment sometime today to listen. Hi Richard, Yes, I do recall that story about the lady in the front row with the score open in her lap. It was years ago though, so like you I can't remember who the artist was. Aside from that incident, there are also many concert goers who have found themselves sitting next to score gazers and find all the page turning to be a real annoyance.

It's worse than the occasional rustling of programs, because it's on-going. Nov 24, Messages: The thing is that I must pay transport charges and having it taken away now and a new one brought in only to have it moved in two months does not seem sensible, as it would also involve tuning the new one twice.

Ok, Richard, I have listened to your recording. It's a pretty piece, however, besides your piano being out of tune a little, I heard a lot of background hiss.

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From Leipzig Griegtravelled to Copenhagen, bringing with him thesolid musical training he had acquired, and there soon became known as apromising young composer. It was not long before he carne under the influenceof Rikard Nordraak, whose glowing enthusiasm and unshakeable belief that thekey to a successful future for Norwegian music lay in nationalism, in theuniquely Norwegian, the music of the people - folk-songs - came to play adecisive role in Grieg's development as a composer.

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Nordraak's influence ismost obvious in the Humoresques for piano, Op. In the autumn of ,Grieg settled in Christiania Oslo. In Norway's capital was thecentre for his activities. During this time he also wrote the majority of theworks which laid the foundation for his steadily increasing fame. In spite ofhis poor health -he had had a defective lung ever since childhood -he wasconstantly on concert-tour as a pianist or as a conductor, always with his ownworks on the programme.

Works by Composer GRIEG, EDVARD

Solveig's Song, from Six Song Transcriptions, Op. 52, no. 4 - Kindle edition by Edvard Grieg. Download it once and read it on your Kindle device, PC, phones or . Misc. Notes, scan: score scanned at dpi (High Quality Scanning) lower resolution: scanned at dpi very low resolution: scanned at dpi. Purchase.

After his last concert-tour in , he wrote to hisfriend Frants Beyer:. This Tour has beenstrange. The Audiences have been on my Side. But the Critics both in Munich and in Berlin have let me know in nouncertain terms, that they think I am a dead Man. That is my punishment formy lack of Productivity in these last Years, which my wretched physicalcondition has caused. It is a hard and undeserved Punishment -but Icomfort myself with the thought that it is not the Critics, who govern theworld. Letter to Frants Beyer, 5th March, More clearly thananything else, this letter shows a trend which Grieg experienced in his lateryears in relation to his music.

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It was also a development which would continueinternationally until long after his death. Within the musical"establishment", there were increasing numbers of people who weregradually becoming more critical of Grieg's music and of his abilities andtalent as a composer. In the meantime his popularity among music-lovingaudiences increased in inverse proportion.

Grieg enjoyed some of his greatestpopularity with the general public during the last years of his life, when, inspite of his greatly weakened health, he was continually on tour, in popular demandfrom concert-managers all over the world. The critics, however, were scepticaland condescending, and there is no doubt that Grieg felt hurt by theirattitude:.

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I cannot be blamed if mymusic is played in third-rate hotels and by school-girls. I could not havecreated my music any other way, even though I did not have my audience in mindat the time. I guess this popularity is all right, hut it is dearly bought. My reputationas a composer is suffering because of it, and the criticism is disparaging.

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From early on Grieg was labelleda composer of small forms. His indisputable lyrical ability and talent werenever doubted, but apart from some very few works such as the Piano Concertoin A minor, Op.

Edvard Grieg - Solveig's Song

He felt that this was a short-coming, and unfairly blamed hiseducation at the Leipzig Conservatory. Nevertheless, he also showed that hecould master these f6rMs when on rare occasions he found raw musical materialthat could be reworked and treated within the traditional structure ofsonata-form.

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Dulgt Kjaerlighed Hidden Love , op. Bondens sang Peasant's Song , lyric piece for piano, Op. The only problem was that the musical material to which he feltclosest and that most fascinated him, was of another quality and character. Larvikspolka, EG Second piano part for Mozart's Rondo in F major, K. Romancer aeldre og nyere , op. Sie tanzt She Dances , lyric piece for piano, Op.

The only problem was that the musical material to which he feltclosest and that most fascinated him, was of another quality and character. Grieg's encounter withNorwegian folk-music, and his assimilation of essential features from thismusic, released certain aspects of his own creativity that soon led to hismusic being, for many, identified with folk-music.

By some he was consideredmore or less simply an arranger of folk-music, and that hurt him very deeply:. In three or four of my remaining works, I haveattempted to use Norwegian songs thematically. And since I have published up toseventy works by now, I should be allowed to say that nothing is more incorrectthan the claim from German critics that my so-called originality is limited tomy borrowing from folk-music.

It is quite another thing if a nationalisticspirit, which has been expressed through folk-music since ancient times, hoversover my original creative works.