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Lyric Pieces, Book 3, Op. No. 3. In der Heimat (In My Native Country). By Edvard Grieg, Marian Edvard Grieg: Essential Piano Music · More Edvard Grieg.
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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 - popular, if not with the critics, then at least with 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 alone more than , pianos were produced. To know how to play the piano was part of the general education in most middle- class families, especially for girls. No wonder the music publishers C.


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Peters hoisted the flag in London and Frankfurt every time Grieg delivered a 8. 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.

Nevertheless, in general, Grieg had an excellent relationship with his publisher in Leipzig. He was particularly close to Dr. Max Abraham - , who became editor at Peters in This is clearly shown by the abundant correspondence that has been preserved. Peters Bureau de Musique, was the full name of the publishing-house that acted as Grieg's exclusive publisher from and agreed to pay him Marks every year, a sum which was adjusted to Marks in 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 the feelings of unrest, of not having developed his talent to the full degree, of having left something undone, something unfulfilled within himself. Throughout his life, Grieg was a restless soul. He never felt completely at peace anywhere.

GRIEG: Lyric Pieces

When he was in Bergen, he longed for Christiania, and when he was there he longed for Copenhagen and the continent. When he was abroad, he longed to be back home, but no sooner had he arrived in Bergen than 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, on the concert-platform and in the Norwegian mountains, especially Jotunheimen. When he was in the presence of his audience or experiencing the powerful and free nature of the western part of Norway, he felt whole and complete.

Among Grieg's works the Lyric Pieces seem to have a special place with a special significance in their order.


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That he apparently viewed them in the same way is clear from the fact that his last lyrical piece. Thus the circle is 8. Even though he revealed his deepest, most intimate feelings in many of the lyrical pieces, the music remains approachable and is often played. It would probably be hard to find the piano student who has not learned to love these lyrical pieces, in spite of their occasional difficulty, and does not feel that the struggle has been worth while, if the results are good.

One should ignore the fact that they have at times been looked upon with disdain as inferior. In fact they have survived as music that is both living and vital, because they are so strongly rooted in the consciousness of the people. The expression Lyric Pieces is actually Grieg's own invention, but does not describe a genre. Character-pieces for the piano, with or without descriptive titles, have a long tradition and Grieg is only one to contribute to this, although his contribution is a very important one. Each of his lyric pieces, like Mendelssohn's, Lieder ohne YJorle, expresses only one mood, one feeling.

From the publication of the second book, in , the first one came out in , he went on to publish collections of lyric pieces at regular intervals, until They cover the greater part of Grieg's life as an established composer, and represent more or less every single facet of his personal style. No attempt has been made to hide the fact that the lyric pieces gradually became good business, both for Grieg himself, as well as for the publishers.

In a letter to Peters, Grieg called them Semmeltt - fragrant, fresh-baked, bread - and the fact of the matter is that they were indeed sold like "hot cakes". No wonder the publisher Peters, in London and Frankfurt, was delighted every time Grieg delivered a manuscript for a new album of piano pieces. He was strongly attached to many of these pieces and enjoyed playing them, while there were others that he was not pleased with at all. In a letter to his friend, Emil Homeman, he writes: Letter to Emil Horneman, 15th September, Other people also made snide remarks about them, such as Debussy's comment that the lyric pieces were like "pink candies filled with snow", probably alluding to the pink covers on the editions of the albums from Peters.

Grieg's Lyric Pieces contain 66 compositions, published in ten albums, during the years from to Most of these albums were printed again several times, and many of the pieces were published separately. Several of the most popular of them were published in innumerable arrangements, some by Grieg himself, but mostly by others. The first album was published in by Chr. Generally, these pieces are the shortest, and as a whole, the most simple to play, among the ten volumes, but they are each in their own way characteristic of their composer and have an unreserved charm and freshness, which have made them some of his most popular piano pieces.

They have always had very valuable function in teaching. A first version of Waltz, Op. Musical Bonbons for the Christmas-Tree. Grieg has written over the second section of the piece Intermezzo Geisler der Nacht. Grieg said that Bjornson was so 8. With the text Onward! The Battlecry of Our Forefathers, Grieg arranged the piece for a male choir, and it was sung by the students' glee club, during a march with lighted torches, in Christiania in , to honour the poet J. Welhaven, - There would be a pause of sixteen years before the next collection of Lyric Pieces was published.

These pieces were written and collected over a long period of time. Grieg wrote the first version of one of them , the Waltz, No. He still called the collection "Little Pieces". It was as though he was not quite willing to claim them as his own. At the same time, however, one finds among them some of his most popular and characteristic lyric pieces, for example, Lullaby, No.

As in the first album, he includes some of his stylized folk-dances. Otherwise one notices both in No. In , a collection was published which proved to be one of the most significant of Grieg's albums of Lyric Pieces, the third in chronological order, Opus The title for the first edition was still Lyric Pieces. In this collection Grieg has created piano pieces of an unusually high and consistent quality, as well as a unity of content which one does not find in the previous volumes. He called them Springdatis, a folk-dance, in a letter to Dr. Abraham, and in most of them he has captured a mood from nature which overwhelmed him.

One does not need any descriptive titles in order to appreciate this. In the first one, Butterflies , No. As far as the last piece is concerned, feeling very homesick while visiting Denmark, Grieg wrote to his friend Frants Beyer: Nobody here understands what draws me to our Norwegian nature as you do. The other day my longing was so deep that it ended in Hymn of Thankful Praise to our rugged and wildly beautiful, Nonvegian Nature. There is nothing new in it, but it is profoundly sincere There are compositions from different periods collected here, even though the majority were written between and In this collection he included a couple of stylized folk-dances, Hailing, No.

Mein Renomntfe als KUnstler danmler und die Knlik ivird gehdssig. Gliicklicher die Kiinstler, die nichl bei Lebzeiten die sogenanne Popularity crlialten. Icli kann doch dafur. Ich habe meine Musik desshalb doch eben so warm empfimden ohne an Publicum zu denken Sei jroh. Das ist ein grosser Vorzug Mdchle mir doch die beschaden sew. Letter to Julius Rontgen. London, 25th May, , qv Julius Rontgen: In dm Oder vicr nielnen librigen Werke habe ich es versuchl, none. Volksweisen iiiolieisch zu veneenden Da ich aber bis jelzl 70 verbffenlliclile. Hirer mein gesamles schaffen schwebl, isl elwas Anderes Letter to Henry T.

In der Heimat

Ftnck, 17th July, 8. Correspondence, articles, interviews, ed. Columbia University Press, , p.

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This story comes from Lionel Carey. In he was honoured with the Norwegian Recording of the Year for a recital of music by Norwegian Baroque composers. Other awards include the Grieg Prize in and in From to 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. Zwar haben auch diese kleinen Meisterwerke bekannte Vorbilder - Mendelssohns Lieder ohnc VVorfe kommen auf Anhieb in den Sinn - aber Grieg gestaltete die Werke doch in einer ganz eigenen Art, die ihren besonderen Reiz der Verwendung von Volksmusikmaterial verdankt.

Vielleicht erreicht der Norweger nicht die Grazie und Intensitat eines Chopin oder Liszt, aber die charakteristisch nordische Farbung der Lyrischen Stiicke hebt sie doch weit iiber den Charakter blofier Salonmusik hinaus. Obwohl das erste Heft der Lyrischen Stiicke weit vor seinen jungeren Geschwistem erschien - es wurde bereits publiziert - und obwohl Griegs Einfallsreichtum hier noch nicht die spateren Hohen erklimmt, zahlen die darin enthaltenen Klavierstiickchen gerade wegen ihrer jugendlichen Frische und ihres unverbrauchten Charmes zu den beliebtesten Werken des Komponisten.

Zudem hat wohl nahezu jeder Klavierschiiler wahrend seiner Ausbildung das eine oder andere Stiick gespielt. Einige der Werke erschienen bereits vor ihrer Zusammenfassung im Heft 1 der Lyrischen Stiicke separat, und ihre friiheren Bezeichnungen lassen Riickschliisse auf den Sinngehalt zu.


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Das erinnert an Claude Debussys bissige Bemerkung von den "Rosa Bonbons, mit Schnee gefiillt" mit der er sich liber Griegs Genrestiickchen lustig machte. Im Manuskript hat er auch vermerkt: Eine sehr interessante Geschichte rankt sich urn op. Vorwdrts, vorwarts, der Schlachlruf unserer Almen wurde von nationalbegeisterten Studenten in der norwegischen Hauptstadt gesungen. This item, public domain in its country of origin, is possibly likewise public domain in the EU due to the EU's implementation of Rule of the Shorter Term for non-EU works.

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Grieg, Edvard - Lyric Pieces Book 3 Op 43

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