Musical works of grieg. Edvard Grieg

Municipal budgetary institution

additional education

Children's art school number 8

Ulyanovsk.

Musicology work of a piano teacher

Tuarminskaya Elena Anatolyevna

"Creativity of E. Grieg and his piano works"

201 6 year

"Creativity of E. Grieg and his piano works"

Introduction ……………………………………………………………………… ... 1

§1. Edvard Grieg is a classic of Norwegian music ……………………………… 2-5

§2. Acquaintance of students with the work of Grieg in the process of studying it ... ..5-8

§3. Works by Grieg in the piano class of the school of arts. ……… .8-23

Conclusion …………………………. ………………. ………………………… ..23

References ………………… ... …………………………………… ... 23-24

Introduction

An artist of a bright individual warehouse, Grieg went down in the history of world musical culture as a great Norwegian composer, whose music embodied all the best that his homeland has created for many centuries: the heroics of the folk epic and the mysterious fabulousness, the energy of folk dance and wonderful, gentle lyrics. In Ibsen's words, it contains "both the memory of the past and the power of love."

The intellectual and spiritual life of each person is based on the national culture to which he belongs. Its importance for the development of creative potential cannot be overestimated: "There is a law of human nature and culture, by virtue of which everything great can be said by a person or a people only in its own way, and everything genius will be born precisely in the bosom of national experience, spirit and way of life" (Ilyin I. A.). Grieg's work is a vivid confirmation of this law, and

acquaintance with the heritage of the great composer helps students-musicians to comprehend many patterns inherent in the processes of forming the creative style of any master.

§1. Edvard Grieg - classic of Norwegian music

The national and world significance of Grieg's art is best revealed from those short words with which he tried to express his creative credo, his goals and objectives as an artist: “I recorded the folk music of my country. I drew rich treasures in the folk tunes of my homeland, and from this still unexplored source of the Norwegian folk soul I tried to create a national art. "

Grieg told the whole world about his country. About the uniqueness of Norwegian nature with its rocks, fjords and gorges. About the whimsical climate: on a narrow strip of the coast there is a warm green spring, and in the mountains there is a winter cold. About the harsh life of the people of this country - pressed by the mountains to the sea, who must settle near the water and always fight with a stone, arranging dwellings on bare steep cliffs.

Grieg conveyed in music the greatness of the Norwegian nature, indomitable

the spirit of the people, its amazing sagas and fairy tales.

The melody of Norwegian folk music has a number of characteristic

features. First of all, the unusualness of its interval sequences is impressive. Often, the melodic line unfolds in the form of a complex ornament, in the layering of various grace notes, mordents, trills, melodic detentions or short inviting intonations. The harmonic language of Norwegian music is characterized by modal variability, widespread use of the Lydian mode, modality. As a result, a tonal "co-game" is formed, which revives the rhythm action, gives mobility, impulsiveness and astringency to the sound. Of particular importance in Norwegian musical folklore is rhythm, a characteristic feature of which, as for the mode, is variability. A capricious change of two-beat and three-beat, bizarre accents, a change in groupings of time signatures - all this is typical of Norwegian folk music. In it, an important factor is the very contrast of the figurative content, the saturation of changeable moods, sudden transitions from pathos to heavy thoughts, from melancholy

to a light humor, which sometimes gives rise to a special ballad tone, in many respects coming from the contrasts of life and landscapes in Norway.

Typical features of Norwegian musical folklore found a peculiar reflection in Grieg's piano music and largely determined the originality of its style. Grieg's interpretation of various folk dances is also of interest. In Norway, dances with two-beat and three-beat time signatures have become widespread.

Three-beat dances - springar, springlake - differed from each other in different use of syncopation, accents, characteristic meter changes, which gave a unique originality to each dance. Two-beat dances are classified into two types: 2/4 and 6/8. First of all, these are gangar and halling. Gangar is a pair procession dance, halling (as a rule, has a faster pace than gangar) is a solo male dance known throughout most of the country.

Grieg's music had genetic links not only with Norwegian national art, but also with Western European culture in general. The best traditions of German romanticism, embodied primarily in the work of Schumann, had a significant impact on the formation of the creative method of Grieg. This was noted by the composer himself, calling himself "the romantic of the Schumann school." Grieg, like Schumann, is close to romanticism in the sphere of lyric and psychological aspirations, reflecting the world of complex and subtle human feelings. Other aspects of Schumann's romanticism were also reflected in Grieg's work: acute observation, the transmission of life phenomena in their unique originality - that is, those qualities that determine the distinctive features of romantic art.

Heir to romantic traditions, Grieg adopted general principles

"Schumann's", poetic program, which is most fully revealed in the collections of "Lyric Pieces", to which the composer addressed throughout almost his entire creative life. Grieg's piano miniatures have “descriptive names”: these are impressions (“At the Carnival” op. 19 no. 3), a landscape sketch (“In the mountains” op. 19 no. 1), sometimes memories (“It was once” op. 71 No. 1), coming from the heart, in Grigov's light and specifically "northern". The artistic goal of the composer is not the embodiment of the plot, but, first of all, the transmission of elusive moods that are born in our minds with images of real life.

Attention should be paid to the distinctive features of Grieg's composer's writing. This is, first of all, the melody of the composer, permeated with intonations typical for Norwegian music: such, for example, as the characteristic move from the first degree of the scale through the opening tone to the fifth (to the dominant of the scale). This intonation plays an important role in many of Grieg's works (for example, the Piano Concerto). Grigovskaya intonation. as a certain melodic turn, it became a kind of national emblem of the composer.

Rhythm is of great importance to Grieg. An essential feature of Norwegian dance rhythm is the predominance of pointed triple-dotted rhythms, which Grieg widely used not only in genre-dance miniatures, but also in works of large form - in moments of dramatic tension. Folk rhythmic elements organically and naturally entered his music.

The composer's handwriting is characterized by the utmost laconicism of the statement, rigor and grace of form, while the smallest details are saturated with significant semantic expressiveness. Hence the repetitions characteristic of Grieg - literal, sequential, variant.

§ 2. Acquaintance of students with the work of Grieg in the process of studying it.

Getting acquainted with the works of Grieg, it should be noted that his activities are inextricably linked with the historical development of Norwegian culture and with the tendencies of Norwegian social life in the mid-19th century. For a long time, Norway bore the burden of heavy dependence on neighboring countries - Denmark, Sweden, which suppressed its original culture.

The second half of the 19th century was marked by the development of the national liberation movement. The composer's work was born of this wonderful time, when in the struggle for political and cultural independence in Norway its artistic traditions developed and strengthened, its literature, drama and poetry flourished.

The most prominent representatives of the national revival in literature were G. Ibsen and B. Bjernson. Grieg's creative collaboration with these writers brought worldwide fame to Norwegian art. Both writers - each in their own way - had a noticeable influence on the formation of the composer's aesthetic views.

Grieg's work was in tune with contemporary Norwegian fine art. The landscape painters H. Dahl, Tiedemann and Gude dedicated their work to their native nature and folk life.

H Orvezh landscape painter H. Dahl - a subtle master of landscape chooses friendly, light

corners of native nature:

sunny forest edge in summer, lush meadow with a shepherdess and kids. Idyllic folk

scenes of the romantic painter are involuntarily associated with the musical landscapes of Grieg: "Stream" (op. 62, no. 4), "Locke" (op. 66, no. 1). In the play "Morning" (from the first suite to "Peer Gynt") the light, transparent melody resembles a calm, serene shepherd's tune in a green meadow.

On the canvases of the artist A. Tiedemann, we can observe the life of Norwegian peasants. The famous genre painting by Tiedemann "The Wedding Procession in Hardanger" (1849), imbued with an enlightened lyrical mood, vividly echoes the plays of Grieg from the cycle "Peasant Dances" op 72, "The Wedding Procession is Passing" op 19 # 2. Spring is a frequent guest on Norwegian canvases. painters. Melted snow, running streams in the lyrical landscapes of F. Taulov, they are consonant with Grigov's miniature "Stream" (op. 62, no. 4). In the play "Spring" (op. 43, no. 6), lyrical mood is combined with the subtlety of the image. Grieg repeatedly sings of spring, creating picturesque paintings in vocal and piano works, many of which are true pearls in their genre.

K. Krog is an artist of a later time. On his canvases, laborious Norway is depicted - rural and urban. Krogh has a whole gallery of expressive female portraits, in which images of women peasants and townspeople, representatives of the intelligentsia are conveyed with psychological penetration. Grieg has similar portraits - "I know this little girl" op. 17 # 16; "Song of Solveig", "Lullaby of Solveig".

Acquaintance of students with samples of Scandinavian painting and literature, of course, contributes to the development of associative thinking. The principle of developmental learning is realized in two aspects. The principle of developmental learning is realized in two aspects. The first concerns the development of the artistic and aesthetic consciousness of students, introducing them through the study of the works of Grieg to the phenomena of world musical culture. The other is the musical and performing aspect - affects the embodiment of knowledge in the specifics of musical performance.

In the practice of teaching musical performance, the main methods of working with a student are the verbal method, as well as direct visual and illustrative demonstration on the instrument. Along with the performing display of the studied works, attending concerts of outstanding performers, an important place in the development of the professional thinking of young musicians is occupied by the purposeful use of modern TCO, in particular, sound reproducing devices that allow you to involve in the educational process the necessary audio and video materials, in this case, recordings of Grieg's compositions. made by domestic and foreign musicians-performers (D. Adni, M. Pletnev, Ya Austbo, etc.).

§3. Works by Grieg in the piano class of the school of arts.

The piano has always been Grieg's favorite instrument. It was to this instrument, dear to him, that he was accustomed from childhood to trust his cherished thoughts. In a long line of piano collections and cycles he created ("Poetic Pictures", "Humoresques", "Cycle from People's Life", "Album Leaves", "Waltzes-Whims", "Lyric Pieces", "Moods") from early to In recent years, one general sphere of lyrical moods and one general tendency of poetic programmaticity has been clearly traced. This tendency is most fully revealed in the cycle of "Lyric Pieces", which the composer turned to throughout almost his entire creative life.

Lyric pieces make up the bulk of Grieg's piano work. They continue the type of piano chamber music represented by Schubert's Musical Moments and Impromptu, Mendelssohn's Songs without Words. The spontaneity of expression, lyricism, the expression in the play of predominantly one mood, a tendency to small scales, simplicity and accessibility of artistic design and technical means - these are the features of a romantic

piano miniatures, which are also characteristic of Grieg's Lyric Pieces. "Lyric pieces" can be called "the composer's musical diary", here Grieg "entered" his most diverse impressions, feelings, thoughts.

The Lyric Plays shows how much of his thoughts and feelings Grieg gave to his homeland. The theme of the homeland sounds in the solemn "Native Song" (op. 12), in the calm and majestic song "In the Motherland" (op. 43), in the genre-lyrical scene "Home" (op. 62), in numerous folk

dance pieces, conceived as genre sketches. The theme of the homeland continues in the magnificent "Musical Landscapes" by Grieg ("Spring" - op. 43, "Nocturne" - op. 54), in the peculiar motives of folk-fantasy plays ("Procession of the Dwarfs", "Cobalt"). Live, direct sketches "from nature" ("Bird", "Butterfly"), echoes of artistic impressions ("The Watchman's Song", written under

impression of Shakespeare's "Macbeth"), a musical portrait ("Gade"), pages of lyrical statements ("Arietta", "Waltz-impromptu", "Memories") - this is the range of images of this cycle. Impressions of life, fanned by lyricism, a lively feeling of the author - this is the content and emotional tone of the cycle, which explains its name: "Lyric Pieces". The peculiarities of the style of "lyric pieces" are as varied as their content.

Very many plays are characterized by extreme laconicism, scanty and precise strokes of miniature; but in some plays there is a tendency towards picturesque, broad, contrasting composition ("Procession of the Dwarfs", "Gangar", "Nocturne"). In some pieces one can hear the subtlety of the chamber style ("Dance of the Elves"), others sparkle with bright colors, impress with the virtuoso brilliance of concert performance ("Wedding Day at Trollhaugen").

The peculiarities of the style of "lyric pieces" are as varied as their content. Very many plays are characterized by extreme laconicism, scanty and precise strokes of miniature; but in some plays there is a tendency towards picturesque, broad, contrasting composition ("Procession of the Dwarfs", "Gangar", "Nocturne"). In some pieces one can hear the subtlety of the chamber style ("Dance of the Elves"), others sparkle with bright colors, impress with the virtuoso brilliance of concert performance ("Wedding Day at Trollhaugen").

"Lyric Pieces" are distinguished by their great genre diversity. Here we meet elegy and nocturne, lullaby and waltz, song and arietta. Very often Grieg turns to the genres of Norwegian folk music (spring dance, halling, gangar). The artistic value of the cycle of "Lyric Pieces" is given by the principle of programmaticity. Each piece opens with a title defining its poetic image, and each piece strikes with the simplicity and subtlety with which it is embodied in music.

"Poetic task".

Arietta

The charming theme of this play, in a modified form, reappears in the very last lyric play, Echoes, Op. 71, No. 7, thus closing the huge league, covering the entire cycle, all ten Works.

There are three independent voices in "Arietta", and the secret of success lies in the realization of this three-voice. First, pay attention to the gentle, melancholic melody, but do not forget that the arpeggiated filling of the texture requires a separate work here. It is advisable to single out a pair of voices in Arietta: bass + melody, bass + arpeggio, melody + arpeggio. Then everything will eventually unite into an inextricable trio, where, nevertheless, each voice will retain its individuality. Pay close attention to the dynamics of the bass line, use the pedal to ensure it is present without being too loud. Sound-like

harp figure in the middle voice should be smooth and soft, and the soprano - tenderly melodious. Be careful with phrasing as well. The opening section consists of two-bar phrases in which the first bar is similar to the off-bar. After the first four bars, the flow of the melody becomes more differentiated. The articulation in the middle voice needs to be made more independent of other voices. This is one of the subtleties of Arietta.

Waltz

This is the first waltz of many in the Lyric Pieces. Although it is often played by children, it is quite suitable for concert performances. In this case, imagine fine china and air ballet. Technically, this involves careful articulation and light touching the keys with your fingertips. The phrase in the right hand remains independent of the typical 3/4 size waltz in the left hand at all times.

Don't play motives marked forte, too loud. Remember that

perform miniature: make miniature and dynamics.

Piano subito with a fermat in step 18 gives an excellent effect.

Note that the main theme sounds twice piano, but for the third time - pianissimo... This subtlety is important for the form of the piece. The same dynamic contrast occurs in the code - piano dolce in measure 71, pianissimo in bar 77. Bar 63 and following sound like a waltz is about to turn into a Norwegian springar.

It seems appropriate to play quarters staccato in a free rhythm.

Although Grieg did not indicate this, one might think about playing the coda a little slower than the rest of the piece. Try to give it a somewhat pastoral character. The middle section in A major can be played in a similar way. These differences, however, should be barely noticeable.

Watchman song

"The Watchman's Song" was very popular in the time of Grieg and remains so today. Pay attention to the indication alla breve: should be heard as 2/2 rather than 4/4. It will also help emphasize the simplicity that Grieg demands. Withstand legato at the beginning of the piece, which sounds in unison, then three-part, then four-part. Play this part modestly, as if you had no idea about the fateful event that is about to take place.

The intermezzo from this song is famous. Imagine the cry of an owl as it murders in the darkness of the night. Grieg wrote The Watchman's Song after he attended a performance of Shakespeare's Macbeth, so try to capture the horror of this mighty drama in your performance. Imagine that the watchman, while walking around, notices, or rather glimpses, the atrocity being committed. Did he hear something or, when he passed by, was a blow secretly delivered nearby? Perhaps the latter interpretation is preferable. The seven-thirty-second figures should be very quiet but distinct. A slight movement of the hand is needed here, but the hand should remain as still as possible. Rising triplets should not suddenly get loud. Start with piano and gradually increase the volume.

Dance of elves

This charming little virtuoso piece is reminiscent of Mendelssohn's music. All notes must be played with your fingertips to achieve an easy, fast staccato. You will need the help of your entire hand, but keep your brush low over the keys. Side wrist movements are useful when you win eighths, but keep them to a minimum so as not to disrupt the coordination of movements. Such a technique can easily lead to

blurry sound and inaccurate rhythm. "Dance of the Elves" should be soft, light and rhythmically accurate. Don't overdo it with forte... After all, you do not want to frighten off the elves! However, you need to practice loudly, and then make the sound a little louder than pp.

Try to vividly imagine how elves swarm around, hide, reappear and finally disappear altogether. Only in bars 29-30 and 70-72 does Grieg use the pedal. This gives the piece an extra dimension - an impressionistic haze or. maybe the wisps of fog in which the elves disappear.

Folk tune

Grieg had an uncanny ability to create melodies with a truly Norwegian sound. While Folk Tune is undoubtedly inspired by the inexhaustible treasures of the folk music of his home country, it is undeniably his own find. Do not play "Folk Tune" too slowly: pay attention to what Grieg wrote Con moto. One of the features of the Norwegian temperament is melancholy, therefore, in order to convey this state, the play must be played simply, artlessly, sincerely. Combine two phrases of four measures at the beginning in an eight-bar period so that the second phrase sounds like a response to the first. You can gradually increase the volume over the first four measures, and then let it decrease in measures 5 - 8: then the message of the eight measure will sound like a single period.

In bars 3 and 4, it is natural to give the tone a slightly lighter shade. In measure 7, it becomes darker. try to imitate a chest voice. "Folk tune" from beginning to end is like a dream. Henrik Wergeland once said about his home country that it is a beautiful, majestic lyre, full of hope to become something warm and musical. This hope is heard in the sounds of Grigov's "People's Tune".

Album Leaf

A leaf from which album could this play be? Maybe a secret love message from the days of Grieg's youth? In the play, one senses the impermanence inherent in early adolescence. Whether he writes to her or she writes to him remains unknown, but it is clear that both are involved. The dialogue is especially clearly audible in the eight-bar periods. Undoubtedly, “he” (the melody in the tenor voice) speaks for sixteen continuous measures, but still “she” (the melody in the soprano voice) leaves behind both the first and the last word. The grace notes should not be too long, otherwise the piece will sound archaic. to make them short, think to the right, that is, think of them as belonging to the next note rather than the preceding note. As you practice, play them almost at the same time, then gradually separate them. In dialogue between right and left hands, never play the given tune twice in the same way. Use your imagination! You can turn a piece into an exciting short conversation, secretly recorded on someone's personal album page.

Kobold
in the mythology of Northern Europe was good-natured brownie ... However, in response to neglect, he could create chaos and disorder in the house. In Germanic mythology, the Kobold is a special species elves or alves ... Kobolds are credited with making fun of people, they constantly mess around and make noise. They are described as dwarfs usually ugly; their color from the fire in the hearth is bright red.

Minuet (Days Gone)

The play is written in a complex three-part form and is built on a contrasting comparison of the first, minor, and middle, major, parts. Despite the sharp change in mood and tonal contrast, the play is a complete whole, thanks to the motivational-thematic unity between the sections.

The first part of the Minuet is written in a simple two-part form. The second part is a written out recapitulation, but in a slightly changed form.

The theme of the first part of the Minuet consists of two elements: lively, danceable and more calm, measured. The main performing difficulties of the first section of the first part: rhythmic accuracy (dotted rhythm, triplets, polyrhythm); good sounding of double notes (with a predominance of upper sound), maintaining a long sound line, accurate dynamics. Moreover, the first climax is encountered here.

The second section of the first movement is characterized by a great liveliness brought in by the left hand and a very bright development of the climax, accompanied by tonal instability, the use of octave and chord techniques, and large dynamic shifts from pianissimo to fortissimo. A lot of work requires free, bright performance of octaves and chords. The last performance of the theme at the end of the first part presents a kind of difficulty; it removes the climax and brings us back to our original mood. The middle part of the Minuet (siringar) also consists of two sections, in turn, each section is divided into 3 sentences. The brightest, most impulsive, climax is the third sentence. It is built on the basis of octave and chord techniques, here the stretto technique is applied. It seems that the theme here reaches its intensity and suddenly and unexpectedly breaks off on the last, final chord. In order to return to the original mood, Grieg uses here a small chord in D major, it must be played pianissimo and at a slower tempo. The second section of the middle part completely repeats the first section, but at a more lively pace, with a brighter

sonority.

Song of the homeland

It was Christmas Eve and Björnsjörn Björnson is said to have run up the stairs of Grieg's Oslo apartment, shouting, "I found the lyrics for the Norwegian national anthem!" Grieg already wrote No. 8 and played it to Bjornson; he liked the play so much that he decided to write words for it - 32 lines, no less! The piece didn’t become a Norwegian anthem in the end, but that’s how it should be played. It must be rhythmic to match the name and indication maestoso... Play half notes in free

in a manner and with sufficient pedal use to achieve a bell-like sound, maintain their full duration.

Contrasting piano from measure 9 should sound as much as possible legato- like a brass band playing quietly and together.

"Lone Wanderer"

Imagine the majestic Norwegian cliffs, swirling waterfalls that roar and roar from the cliffs in summer, and freeze into bizarre transparent statues in winter. The thick ice on the lakes is so transparent that you can see frightened fish rushing under it. Listen to the sounding music. It's called The Lonely Wanderer. Isn't it as if a person walking through the mountainous country of Norway gazes with admiration at the world around him?

"Butterfly"

One of the finest examples of Grieg's sophisticated chromatic style. The music (with its play of harmonic colors) is very graceful and exemplifies the light, transparent, openwork sides of Grieg's pianism. This music is in touch with Chopin. This is not the easiest repertoire, but it is essential for mastering romantic pianism. It is important to find a technique for the execution of this complex texture, only through the accuracy of the technique is an adequate artistic embodiment of the image of a butterfly possible. The sense of positionality is very important and also necessary for the development of finger legato, which is the basis of melodicism in romantic repertoire, as in Chopin, Debussy, Grieg. One of the difficulties of the play is the change of texture tasks. The performer is required to be able to rebuild and change the technique in order to find an adequate artistic result.

"Birdie"

An example of Grieg's rare gift to create an accurate and subtle drawing with a few strokes. The melody of the piece is woven from short "singing" trills and a "jumping" rhythm. The texture is extremely stingy, transparent; bright ringing sounds of the upper register prevail. The gloomy tones of the middle part only brighten up the clarity of the initial image. "Fluttering" figures of codes create a feeling of lightness and spaciousness. In "Birdie" Grieg uses exquisite means to draw jumping and jumping birds with their chirping motives in the opening bars. This motivational material is built and varied in the course of a piece of music at the same time naturally and logically - so that the whole appears as a masterpiece of musical harmony, while the piece has only 36 measures! This is an example of true greatness in small things. This music reflects the world and nature. The author dictated a motor task. The piece develops a sense of spaciousness in music and allows you to feel the freedom and joy of transferring your hand from one register to another, the joy of movement, based on the image. This piece is useful for a squeezed child.

"Spring"

This is a whole poem with a short but very expressive development. The charm of this generalized poetic image of spring is irresistible. Restrained means of expression are differentiated with great, demanding skill: here every shift of register, every turn of harmony, every expansion or contraction of texture plays its role. The image of spring, given in this play, has become one of the most "Grigov" - not only because of the usual characteristic of many intonation turns, but also as an expression of the highest immediacy in a completely strict form. It is impossible not to notice the innovation of this image in essence. Spring at Grieg not only breathes with fresh joy, not only streams in streams, it also “drips” all the time. This intonational feature of "dripping" is wonderfully found from the very first bars and gives the whole music an integrity of local flavor.

In this play, as in the previous ones, the lyrical mood

combined with the subtlety of the picturesque image. One of the most important

means of expressiveness are here successfully found quiveringly - ringing instrumental texture (rehearsals of accompanying chords in the light and ringing upper register, against which a chanting, freely rhythmic melody unfolds), creating the impression of air, light, spaciousness. Without resorting to complex techniques, Grieg achieves new and fresh, impressive sound effects. This is one of the reasons for the enormous popularity of Grieg's play, which, along with Nocturne (op. 54), became one of the composer's most beloved and widely known piano miniatures. In this piece, it is important to master the "partamento" stroke, as well as the chanting "legato" in the melody. The main difficulty arises where the melody is duplicated in a different register. It is necessary to play this in a pianistically differentiated manner. The third line appears in the piece - chord vibration. A long pedal is important here in order to ensure long sounding durations. Grieg thinks in an orchestral way. Three lines cultivate an attitude to the piano texture as to an orchestral score. The feeling of life that surrounds us, the connection with the musical embodiment - this is amazing for Grieg. It makes you believe in the accuracy of the image, to go to the emotional perception of the music. The play was written in a variation, 3-part form, designed for the 7th grade of a music school.

"Procession of the Dwarfs"

One of the great examples of Grieg's musical fiction. In the contrasting composition of the play, the whimsicality of the fairy-tale world, the underworld of the trolls and the enchanting beauty and clarity of nature are opposed to each other. The play is written in three parts. The extreme parts are distinguished by bright dynamism: in the rapid movement, the fantastic outlines of the "procession" flash. Musical means are extremely stingy: motor rhythm and, against its background, a whimsical and sharp pattern of metric accents, syncope; chromaticities compressed in tonic harmony and scattered, hard-sounding large seventh chords; "Knocking" melody and sharp "whistling" melodic figures; dynamic contrasts (pp-ff) between two sentences of the period and wide leagues of rise and fall of sonority. The image of the middle part is revealed to the listener only after the fantastic visions have disappeared (a long "A", from which a new melody seems to pour out). The light sounding of the theme, simple in structure, is associated with the sound of a folk melody. Its clean, clear structure is reflected in the simplicity and severity of the harmonic make-up (alternation of the major tonic and its parallels).

The mysterious Procession of the Dwarfs continues the tradition of the fantastic scenes of Pera Gynt. However, Grieg puts into this miniature a touch of subtle, sly humor, which is not and cannot be in the description of the gloomy underground kingdom of Ibsen's "Mountain King". Here little trolls - funny freaks - no longer resemble the evil "spirits of darkness". A ray of light penetrates the mysterious magic kingdom: a simple folk song of a major trio, murmuring passages like trickles of a stream, speak of the nature surrounding the fairytale heroes - quite real, enchantingly bright and beautiful. The play brings liberation, the courage necessary for an adequate embodiment of the plan. The bold movement of the five-finger formula in different registers contributes to liberation, the acquisition of confidence. In the left hand, you need accuracy in hitting in an octave procession, you need to build it, find a technique so that the left hand is an equal component of the artistic image. It is important to avoid throwing in octave technique. Ellipsis movements are required - an emphasis on the first beat, then a throw down, but not weighed down, not competing with the leading voice delivered by the movement of the strong beat.

"Nocturne"

A lyrical landscape of amazing subtlety. Reflections of nature are written here, it seems, with pictorial clarity, but not a single “pictorial” detail falls out of the general, deeply lyrical tone of the “picture”. Nocturne is written in a dynamic three-part form. The first movement is based on a lyrical melody. Opened melodic phrases directed upward, the intensity of chromaticism in harmony, leading away from the clear gravitation and stability of the tonic, unexpected soft and colorful tonal turns - all this gives the image a romantic fragility, subtlety of nuances. But let us recall the beginning of the melody: it grows out of a short tune of the folk make-up, as if coming from afar. Simple and clear, evoking figurative (landscape) associations, it is not included in the further development of the melody, as if remaining a living, “objective” impression. Just as naturally, continuing the lyrical image, picturesque images arise: the trill of birds, a light breath of the breeze. With the skill of a colorist, Grieg was able to give color, timbre certainty to each theme. The initial tune evokes the timbre of the horn in the performance, the lyrical overflow of the melody - the warm sounding of bowed instruments, light iridescent trills - the sonorous and clear sound of the flute. This is how the features of orchestrality are introduced into the piano sonority. In "Nocturne" one can trace the laconicism of the Grigov style. There is a great expressive significance of the smallest musical detail: register contrasts, a change in size from smooth, fluid to lighter and more mobile, contrasts of intense development of harmony at the beginning, statics in the “trill” theme and colorful harmonic juxtapositions in the middle (Piu mosso, non-chords in tertz and tritone ratio), figurative contrasts and their musical connection. Important in "Nocturne" and proportions in the ratio of parts: the middle part, light, airy, significantly compressed in comparison with the extreme parts. In the reprise, the flow of lyrics is stronger, brighter. The short and strong climax of the theme sounds like an expression of full, enthusiastic sentiment. The end of "Nocturne" is interesting: the intensive development of the melody is transferred to the sphere of colorful accords (a sequence on a long chain of chromatically descending seventh chords). The "trill" motive unexpectedly comes up when the rumor is waiting for the appearance of the initial tune. Already devoid of harmonic brilliance, with a sad repetition - "echo" (half a tone lower), it sounds like a distant echo.

In "Nocturne" the feeling of spring or summer nature, sound space is created. A difficult task is posed in mastering polyrhythm. The middle part of the play is the rising of the northern sun. The play is invaluable in pedal terms, it contributes to mastering the art of pedaling. In "Nocturne" there are specific images that have a rich timbre colorful sound.

Bell ringing is the purest exercise in sound writing. In its harmony, this audacious impressionist experiment has no analogue in contemporary Grieg music. The composer's goal is not melodic beauty, but an almost realistic recreation of the impression arising from the ringing of bells, a static, not to say monotonous, feeling. A series of parallel fifths are syncopated against each other in the left and right hand, and thanks to the pedal, sound masses rich in overtones are created that literally tremble in the air. This play is a single occurrence in the work of Grieg. Here, new trends in impressionist sound painting were clearly identified.

The composer was especially fond of this work, which, according to him, was inspired by the impression of the morning chime of the Bergen bells. Without destroying the functional basis of harmony, Grieg at the same time highlights its purely sonic, colorful expressiveness. The usual structure of chords is also violated: the piece is built on combinations and layering of quint harmonies that have different functions (layering of a subdominant on a tonic, a dominant on a subdominant).

Colorful overflows of quint harmonies create a picturesque effect of distant ringing, heard in the mountain valley. In the play "Bell Ringing" the concreteness of the image dictates the solution of pedal technical problems. This is ear education, associative imagery.

Conclusion

The works of Grieg, due to their rich and multifaceted imagery,

pictorial illustrativeness, colorfulness of color create an optimal condition for the formation of artistic and imaginative thinking of student musicians, contribute to the strengthening of associative connections in their minds between music and other types of art, initiate the development of the entire complex of general and special musical abilities.

Grieg's piano compositions naturally introduce the student to the realm

pianistic culture of the second half of the 19th - early 20th centuries; work on these compositions significantly expands the arsenal of expressive-technical (performing) techniques and means necessary for the professional activity of musicians.

Piano Works: "Poetic Pictures" (1863). Ballad (1876). "Lyric Pieces" (10 notebooks). Norwegian Dances and Songs.

Bibliography

1.Asafiev, B.V. Grig - L .: Music: Leningrad branch, 1986.

2. Alekseev AD Methods of teaching to play the piano. - M .: 1961.

3. Benestad F., Scheelderup-Ebbe D. Edward Grieg - a man and an artist; - M .:

Rainbow, 1986.

4. Demenko N. V. Music by E. Grieg in the educational process on

music faculties of pedagogical educational institutions:

the material of classes in music performance classes. - M., 2002.

5. Druskin M. S. Grieg and the Norwegian culture. M., "Music", 1964.

6. Ibsen G. Selected Works. Moscow: Art, 1956.

7. Ilyin IA The Way of Spiritual Renewal. - M., "Republic", 1993.

8. Levasheva O. E. Edvard Grieg. Essay on life and work. M., "Music",

9. Steen-Nockleberg, E. On Stage with Grieg: Interpretation of Piano

works of the composer. - M .: "Verge-AV", 1999.

Edvard Grieg was born in Bergen in 1843 to a wealthy family. Grieg's ancestors moved to Norway in 1770 and since then all the eldest men in the family have served as British vice-consuls. The composer's grandfather and father, as well as his mother, were excellent musicians; Grieg himself was first imprisoned for an instrument at the age of 4. At the age of 12, the future "genius of the Norwegian romance" wrote his first work, and after completing his studies at school he entered the Leipzig Conservatory, founded by Mendelssohn himself. There he studied from 1858 to 1862.

In Leipzig, where R. Schumen lived at that time, and earlier I. Bach spent his last years, Grieg got acquainted with the work of such brilliant composers as Schubert, Chopin, Beethoven, Wagner, but still he singled out R. Schumann most of all. ... In his early works, the influence of this composer is felt.

The beginning of the creative path

In 1863, Grieg returned to his hometown, but it was difficult to develop success and talent in small Bergen, and he left to live and work in Copenhagen. It was there that Grieg began to think about the revival of the national Scandinavian culture. In 1864, together with like-minded people, he founded the Euterpe Society, whose main goal was to introduce Norwegians to the works of Scandinavian composers.

At this time, the musician actively worked and released many different pieces of music, including the stories of the fairy tales of G. H. Andersen, An. Munch and others.

Marriage

Grieg was married (since 1867) to his maternal cousin Nina Hagerup, who was herself a famous singer with a classical and very melodic soprano.

Work in Oslo

In 1866, due to family problems (relatives did not accept the marriage of young people; such a family union was not considered traditional in Norway), Grieg moved with his bride to Oslo (then Christiania). At that time, the composer worked a lot and fruitfully, creating his best masterpieces.

In 1868, Franz Liszt heard works for violin by the young author. He liked them extremely, which he wrote about in a letter to Grieg. Liszt's letter greatly influenced the composer, he realized that he was moving in the right direction and that he needed to continue his musical experiments.

In 1871 he founded the Oslo Philharmonic Society, which still exists today. In the hall of the Society one could hear the music of Liszt, Schubert, Chopin, Mozart, Wagner, Beethoven, Schumann. It was there that the Norwegian audience heard many works for the first time.

Recognition streak

In 1874, the composer received a lifetime scholarship from the Oslo authorities, and in 1876 he received worldwide recognition.

After several seasons of music, Grieg was able to afford to leave the capital's life and return to Bergen.

last years of life

In 1883, Grieg was diagnosed with tuberculosis due to the damp and cold climate of Bergen. In the same year, his wife left the composer (the relationship between them became more complicated after the death of their only daughter from meningitis). Grieg lived alone for some time, but then he found the strength to make peace with his wife and move to live in the Trollhaugen villa, built according to his order and project.

In 1898 he organized the Norwegian Music Festival in Bergen, which continues to this day.

The composer died in 1907 in his native Bergen from tuberculosis. The death was unexpected, and mourning was declared throughout Norway. Grieg was buried on the bank of the fjord, not far from his villa, in the bosom of his beloved Norwegian nature.

Other biography options

• Judging by the short biography of Edward Grieg, he was both an academician of the Swiss Royal Academy, and an academician of the French Academy of Fine Arts, and an honorary professor at several universities, including Cambridge.
• Grieg was very fond of fishing and often went out into the countryside to go fishing with his friends. Among his friends, who are fond of fishing, was the famous conductor Franz Bayer.

In the history of the musical cultures of the peoples of the north of Europe - Denmark, Norway, Sweden - there are common features due to their common economic and socio - political development.

In particular, they are characterized by the later, in comparison with European countries, the formation of composing schools. In the second half of the 19th century, among these schools, the Norwegian was especially advanced. It was headed by Edvard Grieg, a composer of world importance, who influenced the work of not only Scandinavian authors, but also all European music in general.

Norway at this time was going through a difficult period of development. Weaker economically, it was subordinate to either Denmark (16th - 19th centuries), then Sweden (19th century). It was only in 1905 that Norway finally freed itself from political dictatorship.

Norwegian culture in general, and musical culture in particular, experienced a significant flowering during this time. For example - Ludwig Mathias Linnemann, starting from the 50th year, has been doing a great job of collecting musical folklore, the famous violinist Ole Bull, nicknamed "Northern Paganini", as Grieg put it, was "the first to emphasize the importance of Norwegian folk songs for national music" , Halfdan Kjerulf is nominated as the author of numerous romances, the activity of the gifted, unfortunately, early deceased Ricard Nurdrok is distinguished by patriotism - he is the author of the music of the national anthem of Norway.

Grieg, however, stands out sharply from his predecessors and contemporaries. Like Glinka in Russia or Smetana in the Czech Republic, he embodied the folk flavor in his music with extraordinary clarity. “I drew,” he said, “rich treasures in the folk tunes of my homeland and from this treasure I tried to make national art”. Having created such art, Grieg became the founder of the Norwegian musical classics, and his creations are the property of the world artistic culture.

Edward Hagerup Grieg

Edward Hagerup Grieg was born in June 1843. His ancestors were Scots (by the name of Greig - famous Russian admirals S.K. and A.S. Greigy - also belonged to this family). The family was musical. Mother, a good pianist, taught the children music herself.

Bergen, where Grieg was born, was famous for its national traditions, especially in the field of theater; Henryk Ibsen and Björnstierne Björsnon began their activities here; here Ole Bull was born, it was he who first drew attention to the gifted boy (Grieg is already composing at the age of 12), and advises his parents to send him to the Leipzig Conservatory.

Grieg later recalled without pleasure the years of conservative education - the conservatism of his teachers, their isolation from life. However, his stay there gave him a lot: the level of musical life was quite high, and outside the conservatory, Grieg became familiar with the music of modern composers, especially Schumann and Chopin fell in love with him.

Grieg's creative research was warmly supported by Ole Bull - during his joint travels in Norway, he devoted his young friend to the secrets of folk art. And soon the individual features of Grieg's style were clearly manifested. No wonder they say - if you want to join the folklore of Norway - listen to Grieg.

More and more he perfected his talent in Christiania (now Oslo). Here he writes a huge number of his most famous works. It was here that his famous Second Violin Sonata, one of his favorite works, was born. But Grieg's work and his life in Christiania were full of struggle for the recognition of the folk color of Norwegian art in music, he had many enemies, opponents of such innovations in music. Therefore, he especially remembered the friendly power that Liszt had shown him. By that time, having taken the dignity of abbot, List lived in Rome and did not personally know Grieg. But, having heard the first violin sonata, I was delighted with the freshness and extraordinary color of the music, and sent an enthusiastic letter to the author. He told him: "Keep up the good work ... .. - and do not let yourself be intimidated! ..." This letter played a big role in the biography of Grieg: the moral support of Liszt strengthened the national principle in Edward's musical work.

And soon Grieg leaves Christiania and settles in his native Bergen. The next, last, long period of his life begins, marked by great creative successes, public recognition at home and abroad.

This period of his life opens with the creation of music for Ibsen's play "Peer Gynt". It was this music that made the name of Grieg famous in Europe. All his life, Grieg dreamed of creating a national opera, which would use the images of folk historical legends and the heroic of the sagas. In this he was helped by communication with Bjurston, with his work (by the way, many works by Grieg were written on his texts).

Grieg's music is gaining great popularity, penetrating the concert stage and home life. The feeling of deep sympathy evokes the appearance of Edvard Grieg as a person and an artist. Responsive and gentle in dealing with people, in his work he was distinguished by honesty and integrity. The interests of his native people were above all for him. That is why Grieg emerged as one of the greatest realistic painters of his time. In recognition of his artistic merit, Grieg was elected a member of a number of academies in Sweden, Holland and other countries.

Over time, Grieg increasingly eschewed the noisy metropolitan life. In connection with his touring tours, he has to visit Berlin, Vienna, Paris, London, Prague, Warsaw, while in Norway he lives secluded, mostly outside the city, first in Lufthus, then near Bergen on his estate called Toldhaugen, that is, "Hill trolls ", and devotes most of his time to creativity.

And yet he does not give up his musical and social work. In the summer of 1898, he organized the first Norwegian music festival in Bergen, which attracted all the major musical figures of the time. The outstanding success of the Bergen festival attracted everyone's attention to Grieg's homeland. Norway could now consider itself an equal participant in the musical life of Europe!

On June 15, 1903, Grieg celebrated his sixtieth birthday. From all parts of the world, he received about five hundred congratulatory telegrams (!). The composer could be proud: it means that his life was not in vain, it means that he brought people joy with his work.

Unfortunately, with age, Grieg's health deteriorated greatly, pulmonary diseases more and more often afflict him ... Grieg died on September 4, 1907. His death was marked in Norway with national mourning.

List of works by E. Grieg

Piano works
Many small plays (op. 1, published in 1862); 70 contained in 10 "Lyric notebooks" (published from 1879 to 1901)
Sonata in e-moll op. 7 (1865)
Ballads in the form of variations, op. 24 (1875)

For piano four hands
Symphonic pieces, op. 14
Norwegian dances, op. 35
Waltzes - caprices (2 pieces) op. 37
Old Norse romance with variations, op. 50 (sixth orchestral edition)
4 Mozart Sonatas for two pianos four hands (F - major, c - minor, C - major, G - major)

Songs and Romances
In total - with those published posthumously - over 140.

Chamber instrumental works
Three Violin Sonatas (F - major, G - major, c - moll)
Cello sonata in a - moll op.36 (1883)
String quartet, op. 27 (1877 - 1878)

Symphonic works
"Autumn", overture, op. 11 (1865 - 1866)
Piano Concerto a - moll, op. 16 (1868)
2 elegiac melodies (based on their own songs) for string orchestra, op. 34
"From Holberg's Time", suite (5 pieces) for string orchestra, op. 40
2 melodies (based on their own songs) for string orchestra, op. 53
3 orchestral pieces from "Sigurd Yorsalfar" op. 56 (1892)
2 Norwegian melodies for string orchestra, op. 63
Symphonic dances on Norwegian motives, op. 64

Vocal and symphonic works
"At the Gates of the Monastery" for female voices - solo and chorus - and orchestra, op. 20 (1870)
"Homecoming" for male voices - solo and chorus - and orchestra, op. 31 (1872)
"Lonely" for baritone, string orchestra and two French horns, op. 32 (1878)
Music to Ibsen's play "Peer Gynt" op.23 (1874 - 1975)
"Bergliot" for recitation with orchestra, op. 42 (1870 - 1871)
Scenes from "Olaf Trygvason" for soloists, chorus and orchestra, op. 50 (1889)

Choirs
Album for male singing (12 choirs) op. thirty
4 psalms on old Norwegian melodies for mixed choir a cappella with baritone or bass, op. 34 (1096)

Literary works
Among the published articles are the main ones: "Wagner's Performances in Bayreuth" (1876), "Robert Schumann" (1893), "Mozart" (1896), "Verdi" (1901), an autobiographical essay "My First Success" (1905).

When the piano sings the mysterious Grieg,
Not only music, but a secret sound of light
Born by the movement of sensitive hands
In an attempt to keep the uniqueness of the moment.
Here beauty meets simplicity
And sincerity - with a mysterious silence,
The severity of the north - with a burning dream
And eternal passion, gentle sounding.
Dreams, memories, reality and dream,
And a ray of love is Nina's crystal voice, *)
Crying Ingrid, a quiet moan of the faithful Solveig,
snow-covered Norway paintings ...
And it seems - all the miracle of being:
Harmony and ancient chaos of feeling,
The immensity of existence and the transience of "I"
Contained the genius of Norwegian art.

(Jelal Kuznetsov)

Edward Grieg. Norwegian idyll

Bergen is located in the western part of Norway, by a beautiful fjord overlooking the North Sea. The roofs of the houses scattered across the surrounding hills clink for weeks and months under the blows of the long fingers of the rain. In the port taverns, old fishermen with beards damp with fog tell tales of fairies and trolls, worldly monsters and terrible storms in calm and stern voices. And only late at night, when the wind goes to sleep in the gateways, their footsteps sound and subside on the streets damp from rain and drowning in fog.

In this city on June 15, 1843, Edvard Grieg was born - the most remarkable composer not only of his homeland, but of the whole of Scandinavia. Before his appearance, the peoples of northern Europe did not appreciate folk music, did not know what a composer could make of it.

They considered the songs and dances of the peasants to be devoid of true value and did not understand that whole centuries of memories were heard in them. So many joys and sorrows, so many unforgettable holidays! Grieg discovered their beauty already in childhood: his mother, who gave him his first music lessons, often played songs and dances heard from the peasants. The monotonous and powerful fluctuation of their rhythms gave birth to melodies that were sometimes cheerful, sometimes sad. At night, before falling asleep, the child remembered them; he got out of bed, stumbling in the dark, quietly descended the stairs and began to improvise on the piano, barely touching the keys so that he would not be taken away.

At school, Grieg had to experience a lot of grief because of arithmetic. To get rid of her, he often ran away from school. Most often, the boy wandered in the rain, until the streams of water began to groan from his clothes. Seeing this, the teacher sent him home to change, and while he returned in dry clothes, the arithmetic lesson ended.

Grieg was twelve years old when he showed his fellow practitioners his first piece of music, Variations for Piano on a German Theme, opus 1. But the teacher, noticing what he was doing, leaned over the young musician and gave him a good slap in the face:

It would be better if you remembered the name of the king with whom Olaf Geraldssen negotiated the independence of Norway! he added angrily.

Edward was attending grammar school when the famous Norwegian violinist Ole Bull, a former student of Paganini, visited their home. Probably, even the lightning that unexpectedly fell into the room would not have struck the young Grieg more.

This strong, stooped man with his head always bent to his left shoulder talked about wonderful things. Edward spent hours listening to these stories, swallowing his words and looking at his hands. He had to conjecture how he played the violin with them, because the violinist arrived without an instrument. But he wanted to listen to Edward playing the piano and, upon hearing, predicted a bright future for him. Ole Bulle managed to persuade his parents to send the boy to Leipzig, to the conservatory, famous throughout the continent.

Edward left his homeland with deep regret, but soon got used to the new environment and student life.

In Leipzig, memories of Johann Sebastian Bach and Felix Mendelssohn-Bartholdy lived everywhere, and the young Norwegian was deeply excited to discover the places where these great musicians gave their concerts, where they were applauded and where they taught their students.

Returning to Bergen, Grieg was struck by the beauty of his country, which he now saw through the eyes of a mature man.

The sea stretches out in the distance, soft, green, shiny.

A bluish haze rose, wavering slightly, over the sun-drenched fjord. Red and yellow flowers hid in the grass, bending under the weight of the dew.

Above, in the mountains, the snow lay even in summer, sending cool breezes down to the fjord with lacy shores.

Noisy rivers ran through the rocky valleys to the sea, they crossed inexorably rustling forests, dense thickets of blackberries and glades covered with fragrant herbs that reached a person's waist.

Near the sea, red granite rocks of the most bizarre shapes protruded from the slope of the mountain. A gentle light lay on everything like glittering pollen, and silent birds chased each other in its rays.

Grieg loved to be among the peasants, to get acquainted with their customs, songs and dances. At the end of almost every week, he left home and toured the country. He heard many tunes, many stories about gnomes and elves, got acquainted with the life and customs of ordinary people. Soon he wrote the dance of the trolls: the Norwegians think that these are tiny spirits that hide in caves and turn to stone as soon as the first ray of the sun touches them. Therefore, they wander through the forest only at night and disappear as soon as the first rays color the tops of the fir trees.

The composer was fascinated by the poetic imagination of his people, the songs and colorful clothes of the peasants. He tried to learn all this as deeply as possible and express it in his music. He gave his first concert in Bergen, including several of his compositions. His sincere excitement amazed the audience, for Grieg had the gift of expressing his feelings in a lively and free form, conveying in them his impressions of the nature of his homeland, of the people he met. Every time, composing music, he saw them so clearly before his eyes, as if he painted their portraits with the help of musical notes.

“As there is no people without art, so art cannot exist without people,” the composer liked to repeat.

While tirelessly improving his skills, the young artist was never satisfied with what he knew; the world of music with its inexhaustible secrets seemed to him too huge for him to consider himself his master. This forced Grieg to go to study again, this time to Copenhagen, where he took lessons from Niels Gade, who was considered the founder of the Scandinavian school of music. There he met the pianist and singer Nina Hagerup, whom he later married, and composed the famous "Love Song" based on the words of Hans Christian Andersen, which he dedicated to his beloved.

During his years in Copenhagen, Grieg became friends with composer Richard Nurdrok, the author of the Norwegian national anthem. The musicians decided to fight shoulder to shoulder for the creation of a national art, alien to foreign influences. They both admired folk music and poetry, and both prided themselves on their originality. On the initiative of these enthusiastic composers, the Euterpa Society was created, which set as its goal the struggle for the development of Scandinavian art.

Inspired by this goal, Grieg launched an extensive concert activity in his homeland. The concert in the Norwegian capital, Oslo, was an unprecedented success and led to the appointment of the composer to the post of Kapellmeister of the Philharmonic Society Orchestra. In this capacity, he wrote one of his most famous works, Concerto in A Minor for Piano and Orchestra, and today it figures in the repertoire of all the major pianists in the world. First performed in Leipzig, it was greeted with thunderous applause from the audience. Critics, however, had a different opinion and, as it happened more than once, were deceived in their assessment. They wrote about “Grieg's pathetic, insignificant piece”, not understanding the value and richness of her bright, original melodies. However, not only critics, but also many of Grieg's compatriots showed complete inattention to his work.

Lack of income was very embarrassing for the composer, especially since, not having the means to maintain the orchestra, he was forced to dissolve it for a long time. It was during this period, when so many difficulties and grief fell upon him, that the composer lost his first and only child. The situation seemed completely hopeless when an enthusiastic letter from Franz Liszt arrived from Rome. The great Hungarian pianist and composer sincerely congratulated him on his Piano Sonata, opus 8, and concluded the letter with the words: "I hope that in your homeland you enjoy the success and support you deserve!" Having shown this letter to the Norwegian authorities, the composer finally received a modest subsidy, and for this amount he traveled to Rome. There he personally met Liszt, who eagerly asked the composer about Norway, its art and folk music. But even more valuable than Grieg's stories were his writings. They seemed to Liszt as a treasure trove of feeling characteristic of the country from which their creator came; in these melodies gusts of heroism sounded, the glitter of the sun and the clink of glasses, gusts of wind flew by, beautiful landscapes loomed.

Your music exudes the wild and heady spirit of the northern forests, ”Liszt said to Grieg when he played him the Piano Concerto, brilliantly reproducing all its shades.

Then he took the hand of the Norwegian, who was shorter than him, and shook it tightly. His face shone with joy, he spoke incessantly, admiring the sincerity and novelty of Edvard Grieg's truly folk art.

Liszt's support was the most important event in Grieg's life. Inspired by new inspiration and passion for creativity, he returned to his homeland. There he began to look for a quiet secluded corner where he could settle and write music, not disturbed by anyone. He wandered from village to village, from one fjord to another, but did not stop anywhere, not finding the solitude and peace necessary for creativity.

After many unsuccessful attempts, the composer, whose financial situation had meanwhile improved significantly thanks to concerts and royalties, finally bought a house in the wilderness, not far from Bergen. It was a stone building with a small turret on the roof and stained glass windows, surrounded by pine trees and jasmine thickets; the composer named it Trollhaugen, that is, "Troll Hill".

There were friends of the composer, ordinary, unknown people and celebrities, such as the writer Björnstierne Björnson, the German composer Franz Bauer, the playwright Heinrich Ibsen. When Ibsen rewrote his poem Peer Gynt for theater, he asked Grieg to write music for it. There, a suite of the same name was born, which gained fame rarely achieved by such compositions. She brought the composer prosperity and fame by persuading the Norwegian government to give him an annual allowance.

Never intoxicated by success, tirelessly studying the art of his people, Edvard Grieg was one of those national artists who are able to discern and reproduce the subtlest nuances of folk thought and feeling. Its romantic music contains the melodies and rhythms of Norse folklore, ancient songs and dances of the land of the ancient Vikings.

Until the last days of his life, preserving his young soul, Grieg tirelessly wrote works for voice and piano, for solo instruments, chamber music and pieces for orchestra. He especially loved the song in which the poetry of his people sounded. His generous heart was ready to accept everything beautiful with love. He believed that his works are sparks flying out of the soul of the people.

When the composer died, fifty thousand Norwegians accompanied him on his last journey. His ashes were buried under a stone embankment, on a high rocky promontory, inaccessible to visitors. There, undisturbed by anyone, the author of Solveig's Song and Anitra's Dance peacefully listens to the noise of the North Sea and the hum of the polar wind in the evergreen forests of Norway.

Sounds of music

Grieg's work is vast and varied. It is diverse both in genre and subject matter. In his writings, we find pictures of folk life, native nature, and images of folk fiction, and human life in all its fullness. The most famous are his suites from the music for Ibsen's drama "Peer Gynt".

In the field of piano music, Grieg played a very important role. But first, one of the characteristic features of his talent should be noted - no matter what the composer writes about, no matter what genre he addresses, all his works are fanned with lyricism, a lively and loving attitude. It is not without reason that PI Tchaikovsky wrote: “Listening to Grieg, we instinctively realize that this music was written by a person driven by an irresistible attraction through sounds to pour out an influx of feelings and moods of a deeply poetic nature”.

Imbued with the spirit of Norwegian folk melodies, he put them in the basis of almost all of his works. Especially vividly characteristic features of creativity manifested themselves in the piano works of Grieg.

Edvard Grieg has turned to the piano throughout his life. His piano miniatures were for him a kind of "diary" in which the composer wrote down his personal impressions and observations, thoughts and feelings. In these miniatures, Grieg appears as a real writer, vividly and figuratively describing the pictures of life.

The composer left about one hundred and fifty piano pieces. Seventy of them were published in ten notebooks called "Lyric Pieces". They are in many ways close to "Musical Moments" and "Impromptu" by Schubert, "Songs without Words" by Mendelssohn.

Grieg's Lyric Pieces show how many thoughts and feelings the composer gave to his homeland. This theme manifested itself in different ways in the plays - in magnificent musical landscapes, in genre scenes, in the images of folk fiction.

For example, Norwegian Melody (listening) draws a whole dance scene. We can clearly see the figures of the dancers, different "steps" of the dance - the whirling spring dance. The character is also emphasized by a kind of accompaniment that imitates the sound of folk instruments.

"Gangar" ("Peasant march") (listening) - popular in Norway dance-procession (gang - step). This is an ancient pair dance of a calm and stately solemn character. As we listen to this piece, we can imagine a procession of dancers. They seem to first approach us and then move away.

One of the most striking examples of Grieg's musical fiction is his play "Procession of the Dwarfs" (listening). Music draws us a bizarre fairytale world, the underworld of trolls and gnomes, these terrible and evil dwarfs. The middle section of the play depicts enchanting beauty, clarity of nature.

One of the most joyful and jubilant works by Grieg is "Wedding Day at Trollhaugen" (hearing) (Trollhaugen is a place in Norway where Grieg's villa was located. The composer spent the last years of his life here. Despite the fact that most of the Lyric Pieces "are miniatures of a chamber character, this piece stands out among them for its brightness, scale, virtuoso brilliance.

Wedding marches are prominent in Norwegian folklore. And this procession by Grieg sounds confident and proud. But at the same time, the characteristic "bagpipe" bass gives it the simplicity and charm of a rural scene. The piece also exists in an orchestral version. Grieg presented this work to his wife Nina on June 11 for their wedding anniversary.

Among the "Lyric plays" we find light, poetic images of nature: "Butterfly", "Bird", "Spring". These pieces show the composer's rare gift to create a precise and delicate drawing with a few strokes.

A striking example of this is the play "Bird" (listening), as if woven from short fluttering trills and a jumping rhythm.

The play "Spring" (listening) is the apotheosis of the awakening of nature. The unique charm of the sound images is reminiscent of the touchingly uncertain appearance of snowdrops. In a letter to the publisher, Grieg called this collection of plays "spring songs."

Thin pages of lyrical expressions are such plays of the cycle as "Waltz-impromptu", "Elegy" (listening).

One of the most lyrical episodes of Grieg's work is the play that opens the cycle - "Arietta" (listening). She is distinguished by amazing purity, naivety, spontaneity, peace of mind. The composer used a very subtle device in its conclusion: such a peculiar ellipsis. The song breaks off on the floor with a phrase, as if the singer's thought was carried off somewhere into the distance.

The presentation used reproductions of paintings by artists: Hans Andreas Dahl, Adolf Tiedemann and Hans Gude; photos of the sights of Norway.

Edvard Grieg (1843-1907) was the first Norwegian composer whose work went beyond the borders of his country and became the property of common European culture. Thanks to Grieg, the music school in Norway has become on a par with other national schools in Europe, although its development proceeded in very difficult conditions.

For a long time (until 1905) Norway could not achieve state independence. Political dependence on Denmark (XIV-XVIII centuries) and Sweden (XIX century) hampered the development of the country's economy and culture (until the middle of the XIX century, it not only did not have professional art, but also a single state language).

Grieg's life and career coincided with a period of unusually bright flourishing of Norwegian culture associated with the awakening of national identity. In the 60s and 70s of the 19th century, leading Norwegian artists turned to the study of the national epic, folk tales, and musical folklore. In Bergen, in the homeland of Grieg, the National Norwegian Theater was opened, the work of which was headed by Henrik Ibsen (the most prominent Norwegian playwright, author of the drama "Peer Gynt"). Outstanding Violinist-Improviser Ole Bull began to promote Norwegian folk music, performing his own concert fantasies on folk themes. Author of the Norwegian National Anthem Nurdrok together with Grieg he founded the musical society "Euterpa" in Copenhagen, the purpose of which was to disseminate and promote the work of young Scandinavian composers. As the author of numerous romances, Hierulf ... And yet it was Grieg who managed to bring the music school of Norway to the world level. The conceptual center of all Grigov's creativity was the image of Norway. Its embodiment is associated either with the heroics of the Norwegian epic, then with the images of national history and literature, then with the fantasy of Scandinavian fairy tales or pictures of the harsh northern nature. The most profound and artistically perfect generalization of the epic image of the homeland was the 2 orchestral suites "Peer Gynt", in which Grieg gave his own interpretation of Ibsen's plot. Leaving the characterization of Per as an adventurer, individualist and rebel outside the scope, Grieg created a lyric-epic poem about Norway, glorified the beauty of its nature ("Morning"), painted bizarre fairy-tale images ("In the cave of the mountain king"). The lyrical images of Per's mother, old Oze, and his bride Solveig acquired the meaning of eternal symbols.

Grieg's brightly original style was influenced by Norwegian folklore, which has a very long history. Its traditions were formed in the lyric-epic songs of the skalds, in the shepherd's mountain melodies ( locke), in Norwegian dances and marches.

Grigovsky melodies absorbed the most characteristic features of Norwegian folk songs, such as the combination of pentatone moves with tritone ones, or the melodic turn of T - the opening tone - D. This intonation, which has become a kind of musical symbol of Norway, is very often found in Grieg's music (for example, in many themes , in "Nocturne" from "Lyric Pieces"). Often it "moves" to other degrees of the scale, as, for example, in Solveig's song, where this melodic move comes from D (through an increased IV degree), and then from S.

Under the influence of folklore, characteristic features have also developed harmony Grieg:

• an abundance of organ points;
• frequent use of Lydian and Dorian modes;
• raising the IV degree of the fret in both major and minor is a favorite Grigovian alteration;
• flexible modal variability, as a kind of play of "light and shadow" (minor d in major, major S in minor, etc.) t. of the slow part of the fp. concert

In general, the harmonic language of Grieg's works is particularly colorful, the widespread use of chords with a multi-grater structure, which again is rooted in Norwegian folklore (many Norwegian melodies contain several thirds moves in one direction).

Numerous Grieg dances are most directly associated with Norwegian folklore. They rely on the peculiar rhythm of the Norwegian Hallings, Springdances, Gangars. Gangar is a Norwegian peasant march. Halling - solo male dance with very complex, almost acrobatic movements. Springdance (or springar) - a perky "jumping dance". Grieg often emphasizes the typical rhythmic details of all these dances - a combination of triplet and dotted patterns, unexpected accents on weak beats, all kinds of syncopation.

Almost all musical genres - piano, vocal, symphonic (overture "Autumn", suite "From Holberg's times" for string orchestra) and vocal-symphonic (theater music), chamber-instrumental (string quartet, 3 sonatas for violin and piano, 1 sonata for cello and piano). And yet, he showed himself most vividly in the field miniatures - piano and vocal. Contemporaries called him a genius miniaturist, a master of small forms.

Where his personal observations of life, impressions of the surrounding world, nature, thoughts and feelings, thoughts about the Motherland are captured. The composer wrote about 150 piano miniatures. 66 of them are included in the cycle of 10 notebooks "Lyric Pieces", which took the main place in his piano work (besides him - "Poetic Pictures", "Humoresques", "From People's Life", "Album Leaves", "Waltzes-Caprices "). Grieg also dedicated 3 major works to the piano: an e-moll sonata, a ballad in the form of variations and a piano concerto, one of the best in concert literature.

Along with piano music, (about 150 songs and romances, including vocal cycles "Melodies of the Heart" to the words of G.H. Andersen, "Along the Rocks and Fjords", "Norway", "Child of the Mountains"). It is significant that the basis of Grieg's vocal compositions was made up of Norwegian poetry (poems by Björnson, Paulsen, Ibsen).

Grieg proved himself not only as a composer. He was also an excellent performer (performed as a conductor and pianist, most often in collaboration with the singer Nina Hagerup, who was his wife); music critic; public figure (headed the Philharmonic Society in Christiania, held the first Norwegian music festival in Bergen, etc.)

Until the last years of his life, Grieg's educational activities continued (directing concerts of the Bergen musical society "Harmony", organizing the first festival of Norwegian music in 1898). Concentrated composer's work was replaced by tour trips (Germany, Austria, England, France); they contributed to the spread of Norwegian music in Europe, brought new contacts, acquaintances with major contemporary composers - J. Brahms, C. Saint-Saens, M. Reger, F. Busoni.

This is mainly music for drama performances. The opera "Olaf Trygvason" remained unfinished.