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Edvard Grieg

Am Klavier - 15 bekannte Originalstücke

Sylvia Hewig-Tröscher (Editor, Fingering)


Urtext Edition, paperbound

Edition available in German language

Pages 54 (IV+50), Size 23,5 x 31,0 cm

Weight 229 g

HN 1811 · ISMN 979-0-2018-1811-5

17.00 €
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Preface

Am Klavier Die Reihe „Am Klavier“ wendet sich an alle Klavierspieler, die bereits erste Erfahrungen an ihrem Instrument gesammelt haben und nun leichtere Originalwerke bedeutender Komponisten spielen wollen. Schüler, Lehrer und Wiedereinsteiger finden hier eine Fülle bekannter Werke. Inhalt Jeder Band der Reihe ist ausschließlich einem Komponisten gewidmet. Denn jeder … more

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About the composer

Edvard Grieg

Edvard Grieg

Most important Norwegian composer of the nineteenth century and promoter of Norwegian folk music. His lyrical character pieces in particular are well known.

1843Born in Bergen on June 15, the son of a merchant and British consul; early piano lessons with his mother, who was a pianist.
1858–62Studies at the Leipzig Conservatory.
1862Concerts in Norway.
1863Copenhagen, with the support of Niels W. Gade.
from 1864Interest in Norwegian folk music, which finds its way into his compositions.
1866Breakthrough with a concert of Norwegian music. Conductor of the Philharmonic Society.
1867The first of a total of ten volumes of Lyric Pieces for piano, Op. 12, with relatively simple piano settings.
1868/69Composition of the Piano Concerto in A minor, Op. 16, which is based on Schumann’s piano concerto.
1869“25 Norwegian Folk Melodies and Dances,” Op. 17, for piano.
1873Begins work on the opera “Olav Trygvason,” Op. 50, after Bjørnson, which is never completed.
1874Composition stipend from the state.
1874/75Composition of incidental music to Ibsen’s “Peer Gynt,” Op. 23, the basis for the Peer Gynt Suites.
1876Attends the premiere of Wagner’s “Der Ring des Nibelungen” in Bayreuth.
1880–82Conductor of the “Harmonien” musical society in Bergen. Thereafter he accepted no other positions.
1883Visit to Bayreuth; he hears Wagner’s “Parsifal.”
1884Composition of “From Holberg’s Time,” Op. 40, his most popular work.
from 1885He moves into his villa “Troldhaugen” (near Bergen). Composition and revision of older works in spring and summer, concert tours in fall and winter.
1891Composition of the “Lyric Suite,” Op. 54, orchestrated in 1905.
1907Death in Bergen on September 4.

© 2003, 2010 Philipp Reclam jun. GmbH & Co. KG, Stuttgart

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About the authors

Sylvia Hewig-Tröscher

Sylvia Hewig-Tröscher (Editor, Fingering)

Sylvia Hewig-Tröscher studied piano at the Hochschule für Musik in Munich under Erik Then-Bergh and Hermann Reutter, as well as under Louis Hiltbrand at the Conservatoire de Musique in Geneva. 1977 she finished the „ Classe de Virtuosité“ in Geneva with the Premier Prix avec distinction and received the Henry Broliet prize as well as being awarded the GEDOK prize. Also organ studies under Lionel Rogg finishing with the „Diplome d’Orgue“. Masterclasses with George Halmos, Klaus Schilde, Karl Seemann and Wilhelm Kempff, followed, as well as with the cembalo player Li StadelmannIn. 1977 the piano trio Orfeo was established.

Since then, as a solo pianist and chamber musician, her concert activities have led her to Germany, Switzerland, France, Italy, Austria, America, Egypt, India, Korea, and Japan. The list of recordings includes Bayerischer Rundfunk and Südwestfunk Freiburg, Baden-Baden, record and CD recordings of (among others) seldom played works of the classical and romantic periods with Musica Bavarica. Further CD recordings including modern music and first performances with Calig, Symicon, Bayer Records, Arts Magnamedia, and Sony, also co-production of the Bayreischer Rundfunk and Deutscher Musikrat.

Masterclasses in Villa Marteau, Marktoberdorf, Hammelburg, Brixen, Castelnuovo di Garfagnana and New York. Today Sylvia Hewig-Tröscher works as a professor of piano and vice president of the Hochschule für Musik and Theater Munich.

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Die Texte Hewig-Tröschers sind leicht lesbar, allgemein verständlich und in ihren praktischen Empfehlungen problemlos umzusetzen, etwa wenn sie mit wenigen Worten Empfehlungen gibt, wie eine Oberstimme bei Mehrstimmigkeit in einer Hand hervorgehoben werden kann. Auch der Klavierpädagoge liest die Anmerkungen der Herausgeberin durchaus mit Gewinn für den eigenen Unterricht. [Üben & Musizieren, 2016]

De serie houdt rekening met verschillende spelniveaus (...), uithoudingsvermogen (...) en wil twijfelaars niet afschrikken door een te groot gewicht van een volume (...) of een te druk tekstbeeld. Ook aan de portemonnee van de doelgroep is gedacht, want de serie is aantrekkelijk geprijsd. Kortom, alle voorwaarden zijn aanwezig, alle mogelijke duwtjes in de rug gegeven, nu is het de beurt aan de pianist zelf. Er is geen uitstel meer mogelijk. [Piano Bulletin, 2015]