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Edvard Grieg

Lyric Pieces Volume V, op. 54

Ernst-Günter Heinemann (Editor)

Einar Steen-Nøkleberg (Editor, Fingering)

Urtext Edition, paperbound

Pages 31 (V+26), Size 23,5 x 31,0 cm

Weight 144 g

HN 681 · ISMN 979-0-2018-0681-5

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  • Level of difficulty (Explanation)
  • Other titles with this level of difficulty
  • Shepherd's Boy op 54,1
  • Piano 5 medium
  • Norwegian March op. 54,2
  • Piano 5 medium
  • March of the Dwarfs op. 54,3
  • Piano 6 medium
  • Notturno op. 54,4
  • Piano 6 medium
  • Scherzo op. 54,5
  • Piano 6 medium
  • Bell Ringing op. 54,6
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Look for »Grieg Lyric Pieces Volume V, op. 54«


In the early part of 1891 Grieg was frequently ill and his compositional work slackened. Things began to look up in the summer. He had invited his publisher Max Abraham (of Peters in Leipzig) and his close friends Frants Beyer and Julius Röntgen to visit him in Troldhaugen, and now he looked forward to a hiking tour with them through the mountains of Jotunheim. As it happened, … more

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Critical Commentary

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

Ernst-Günter Heinemann

Ernst-Günter Heinemann (Editor)

Dr. Ernst-Günter Heinemann, born in 1945 in Bad Marienberg (Westerwald), completed his schooling in Gießen and read musicology, philosophy and German in Marburg and Frankfurt/Main and also for some time Protestant church music. He did his doctorate on “Franz Liszts geistliche Musik. Zum Konflikt von Kunst und Engagement”.

From 1978–2010 Heinemann worked as an editor at G. Henle Publishers (in 1978 in Duisburg, from 1979 onwards in Munich). He edited a great many Urtext editions for the publishing house, including “Das Wohltemperierte Klavier”, Volume 1 by Bach and all of Debussy’s piano works. In addition, he wrote essays on Debussy, Grieg, Liszt, Mendelssohn and questions concerning general editing, as well as giving seminars on editorial practice for musicology students in Munich.

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