Cultural Musing

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Art & Heritage Collections Cultural Musing ‘My powers grow in the shelter of Grieg’s genius’ Percy Grainger A concert celebrating the friendship between Percy Grainger and Edvard Program Grieg presented by Art & Heritage Collections and Soundstream Collective in Grainger La Scandinavie collaboration with the University of Adelaide JM Coetzee Centre for Creative Suite of Swedish folk-songs Practice and the Elder Conservatorium of Music, featuring: and dance Grieg Selections from Nineteen Addison/Smart Duo Norwegian Folk Songs John Addison, cello and Gabriella Smart, piano Op 66 with Mark Carroll, Grainger commentator Interval 7.30 pm Thursday 21 July 2011 Grainger Ramble on Love Elder Hall Grieg Sonata for cello and piano The University of Adelaide, North Terrace Campus Op 36 Free concert — all welcome The Addison/Smart Duo, together with Mark Carroll, reanimate in words and music the bond that formed, all too briefly, between Grainger (1882 – 1961) Australian born composer and pianist, and Grieg (1843 – 1907) Norwegian composer and pianist. To Grainger, Grieg epitomised the Nordic world view he so admired, while Grieg was for his part besotted with the strapping young Australian and his robust approach to his craft. This concert will be broadcast on ABC Classic FM To reserve your seat please register your attendance by emailing [email protected] For more information please contact Art & Heritage image Unknown photographer, Troldhaugen on 8313 3086 or email [email protected] Edvard Grieg, Percy Grainger, Nina Grieg and Julius Röntgen at Troldhaugen, Norway, 1907 Silver gelatin print mounted on card With special thanks to the Grainger Museum of the University of Melbourne, Grainger Museum Collection, the Elder Conservatorium of Music and the Division of Services and Resources the University of Melbourne of the University of Adelaide for their continued support. SOUNDSTREAM A&H COLLECTIVE.

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Edvard Grieg (1843-1907) – Norwegian and European
Edvard Grieg (1843-1907) – Norwegian and European. A critical review By Berit Holth National Library of Norway Edvard Grieg, ca. 1858 Photo: Marcus Selmer Owner: Bergen Public Library. Edvard Grieg Archives The Music Conservatory of Leipzig, Leipzig ca. 1850 Owner: Bergen Public Library. Edvard Grieg Archives Edvard Grieg graduated from The Music Conservatory of Leipzig, 1862 Owner: Bergen Public Library. Edvard Grieg Archives Edvard Grieg, 11 year old Alexander Grieg (1806-1875)(father) Gesine Hagerup Grieg (1814-1875)(mother) Cutout of a daguerreotype group. Responsible: Karl Anderson Owner: Bergen Public Library. Edvard Grieg Archives Edvard Grieg, ca. 1870 Photo: Hansen & Weller Owner: Bergen Public Library. Edvard Grieg Archives. Original in National Library of Norway Ole Bull (1810-1880) Henrik Ibsen (1828-1906) Bjørnstjerne Bjørnson (1832-1910) Wedding photo of Edvard & Nina Grieg (1845-1935), Copenhagen 1867 Owner: Bergen Public Library. Edvard Grieg Archives Edvard & Nina Grieg with friends in Copenhagen Owner: http://griegmuseum.no/en/about-grieg Capital of Norway from 1814: Kristiania name changed to Oslo Edvard Grieg, ca. 1870 Photo: Hansen & Weller Owner: Bergen Public Library. Edvard Grieg Archives. Original in National Library of Norway From Kvam, Hordaland Photo: Reidun Tveito Owner: National Library of Norway Owner: National Library of Norway Julius Röntgen (1855-1932), Frants Beyer (1851-1918) & Edvard Grieg at Løvstakken, June 1902 Owner: Bergen Public Library. Edvard Grieg Archives From Gudvangen, Sogn og Fjordane Photo: Berit Holth Gjendine’s lullaby by Edvard Grieg after Gjendine Slaalien (1871-1972) Owner: National Library of Norway Max Abraham (1831-1900), Oscar Meyer, Nina & Edvard Grieg, Leipzig 1889 Owner: Bergen Public Library.
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Grieg & Musical Life in England
Grieg & Musical Life in England LIONEL CARLEY There were, I would prop ose, four cornerstones in Grieg's relationship with English musicallife. The first had been laid long before his work had become familiar to English audiences, and the last was only set in place shortly before his death. My cornerstones are a metaphor for four very diverse and, you might well say, ve ry un-English people: a Bohemian viol inist, a Russian violinist, a composer of German parentage, and an Australian pianist. Were we to take a snapshot of May 1906, when Grieg was last in England, we would find Wilma Neruda, Adolf Brodsky and Percy Grainger all established as significant figures in English musicallife. Frederick Delius, on the other hand, the only one of thi s foursome who had actually been born in England, had long since left the country. These, then, were the four major musical personalities, each having his or her individual and intimate connexion with England, with whom Grieg established lasting friendships. There were, of course, others who com prised - if I may continue and then finally lay to rest my architectural metaphor - major building blocks in the Grieg/England edifice. But this secondary group, people like Francesco Berger, George Augener, Stop ford Augustus Brooke, for all their undoubted human charms, were firs t and foremost representatives of British institutions which in their own turn played an important role in Grieg's life: the musical establishment, publishing, and, perhaps unexpectedly religion. Francesco Berger (1834-1933) was Secretary of the Philharmonic Soci ety between 1884 and 1911, and it was the Philharmonic that had first prevailed upon the mature Grieg to come to London - in May 1888 - and to perform some of his own works in the capital.
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Edvard Grieg: Between Two Worlds Edvard Grieg: Between Two Worlds
EDVARD GRIEG: BETWEEN TWO WORLDS EDVARD GRIEG: BETWEEN TWO WORLDS By REBEKAH JORDAN A Thesis Submitted to the School of Graduate Studies in Partial Fulfillment of the Requirements for the Degree of Master of Arts McMaster University © Copyright by Rebekah Jordan, April, 2003 MASTER OF ARTS (2003) 1vIc1vlaster University (1vIllSic <=riticisIll) HaIllilton, Ontario Title: Edvard Grieg: Between Two Worlds Author: Rebekah Jordan, B. 1vIus (EastIllan School of 1vIllSic) Sllpervisor: Dr. Hllgh Hartwell NUIllber of pages: v, 129 11 ABSTRACT Although Edvard Grieg is recognized primarily as a nationalist composer among a plethora of other nationalist composers, he is much more than that. While the inspiration for much of his music rests in the hills and fjords, the folk tales and legends, and the pastoral settings of his native Norway and his melodic lines and unique harmonies bring to the mind of the listener pictures of that land, to restrict Grieg's music to the realm of nationalism requires one to ignore its international character. In tracing the various transitions in the development of Grieg's compositional style, one can discern the influences of his early training in Bergen, his four years at the Leipzig Conservatory, and his friendship with Norwegian nationalists - all intricately blended with his own harmonic inventiveness -- to produce music which is uniquely Griegian. Though his music and his performances were received with acclaim in the major concert venues of Europe, Grieg continued to pursue international recognition to repudiate the criticism that he was only a composer of Norwegian music. In conclusion, this thesis demonstrates that the international influence of this so-called Norwegian maestro had a profound influence on many other composers and was instrumental in the development of Impressionist harmonies.
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Conference Program 2011
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Norway – Music and Musical Life
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DMA Document-Bergan -21-05-2020
EDVARD GRIEG Recognizing the Importance of the Nationalist Composer on the International Stage IPA Transliteration of Three Song Cycles D.M.A. Document Presented in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts in the Graduate School of The Ohio State University By Caroline Patricia Bergan, M.M., A.D. Graduate Program in Music The Ohio State University 2020 D.M.A. Document Committee Dr. Scott McCoy, Advisor Dr. Youkyung Bae Prof. Edward Bak Prof. Loretta Robinson Copyright by Caroline Patricia Bergan 2020 Abstract In North American colleges, universities, and conservatories it is not uncommon to find the main languages required of music students to be French, Italian, German, and English. Beyond the scope of these four most common languages, Russian, Spanish, and Czech are sung by more advanced or native singers of the languages; however, many other languages seem to be ignored in academia in both solo performance as well as in choral settings. It is a disservice to limit the scope of languages and repertoire when there exists a plethora of rarely performed compositions; moreover, it is not reasonable for these institutions to limit student's learning because of this “tradition.” Among the overlooked are the Scandinavian languages. This document will specifically address the repertoire of the most renowned Norwegian composer of the nineteenth century, Edvard Grieg (1843-1907). There exist but two published works that provide a singer with the resources to learn the pronunciation of curated Grieg selections. Neither of these resources was written by native Norwegian speakers; therefore, utilizing my linguistic skills as a native speaker and singer I intend this document to be a contribution toward the goal of providing near-native, accurate International Phonetic Alphabet (IPA) transliterations of three song cycles representing Grieg's early, middle, and late writing.
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Program No / Eng Sommer / Summer 2014 Komponisthjemmene / the Composers’ Homes
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2Johan Halvorsen
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Lionel Carley Paper 2000
Lionel Carley: Percy Grainger's promotion of Grieg Current work on a book on Grieg's relations with British musicians on the concert tours that he undertook in England has led this writer to take a sideways glance at the friendship the Norwegian composer enjoyed near the end of his life with the Australian- born, but London-based pianist and composer Percy Grainger. This diversion has resulted in the publication of two essays on the friendship, the first of which specifically chronicles for the first time Grainger's ten-day visit to Troldhaugen in 1907 (see Studia Musologica Norvegica, 25, Olso 1999), with the second outlining the overall course of Grainger's interest in Grieg and his music, from the time it was first encountered at home in Melbourne - when as a boy he would hear his music-teacher mother play many of Grieg's earlier piano pieces - until well beyond Grieg's death (see The Grieg Companion, 5, London 2000). Grainger emigrated to America in 1914 and was to take out US citizenship some four years later. The house at White Plains in New York State that he bought in 1921 gradually filled up with mementoes of his musical career, enthusiastically collected during many of his many world-wide concert-tours. In the 1930's he conceived the idea of erecting a museum to house his various acquisitions, and negotiations with the University of Melbourne resulted in the acceptance by the university authorities of his offer to build such an institution on the Melbourne campus. Ever-conscious of the importance, as he saw it, of ensuring a place among immortals for his composer friends (no less than for himself), he collected their scores, both printed and autograph, often with their own (and/or his own) performance markings, their letters and other documents, and, more idiosyncratically, items of their clothing and other personal memorabilia.
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Edvard Grieg (1843 - 1907)
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1 November 5, 2013 the U.S. Premiere of Justin
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Ernst-Günther Heinemann Paper 2007
Ernst-Günter Heinemann Some observations on preparing Henle Urtext editions of Grieg's music In 1948 Günter Henle began to build a library of source-critical editions of piano and chamber music by “classic” composers for his newly-founded company. It was his declared aim to present works in the versions in which their composers had released them for printing. Various stages of musical development, early sketches and versions were to be commented upon in the preface and in the notes section of the new editions, but were not to be reproduced in the musical text. In this way Henle’s concept differed from the style of modern “complete editions”, which give great weight to describing the genesis of a work (describing here means that the musical text of preliminary stages is edited and printed). By “classic” Henle meant works of all style periods that had insinuated themselves into domestic music-making and concert performance on account of their outstanding quality. Thus “classic” composers in this sense meant Grieg and Debussy as much as Bach and Beethoven. All projects were planned as “back list” titles, meaning that, once a work had been accepted for publication, it should remain in print. It is obvious that, on business grounds, only those titles that can show an assured level of distribution are of interest for this publishing agenda. Maintaining titles that have to be partly or completely revised at the time of reprinting is costly. Henle’s original idea of Urtext editions— as fixed and unchanging documents that could be republished unaltered—soon demonstrated itself to be illusory.
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