An ancient melody, probably from the 16th century, is the basis for Grieg’s op. 24. This “Ballade in Variation Form” was written in winter and spring 1875/76, in the months following his parents’ deaths. It is often interpreted as an attempt to surmount this difficult period, something most impressively audible in the chromatically-descending bass-line that permeates the piece. The Ballade is considered to be Grieg’s most important piece for piano and is most certainly his most personal composition, even though he himself never performed it in public.
The fingering newly prepared for this Urtext edition helps to open up the dense piano writing with its pedal-points and polyphonic structures.
- 難易度 (解説)
Grieg’s Ballade, op. 24, was written in winter and spring of 1875 –76, at the same time as his lieder op. 25 and 26 on poems by Ibsen and Paulsen. These were the first compositions he attempted following the completion of his famous incidental music to Peer Gynt, and his work on both the Ballade and the sets of lieder can be seen as an attempt to free himself from his low … 続き
Most important Norwegian composer of the nineteenth century and promoter of Norwegian folk music. His lyrical character pieces in particular are well known.
|1843||Born in Bergen on June 15, the son of a merchant and British consul; early piano lessons with his mother, who was a pianist.|
|1858–62||Studies at the Leipzig Conservatory.|
|1862||Concerts in Norway.|
|1863||Copenhagen, with the support of Niels W. Gade.|
|from 1864||Interest in Norwegian folk music, which finds its way into his compositions.|
|1866||Breakthrough with a concert of Norwegian music. Conductor of the Philharmonic Society.|
|1867||The first of a total of ten volumes of Lyric Pieces for piano, Op. 12, with relatively simple piano settings.|
|1868/69||Composition 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.|
|1873||Begins work on the opera “Olav Trygvason,” Op. 50, after Bjørnson, which is never completed.|
|1874||Composition stipend from the state.|
|1874/75||Composition of incidental music to Ibsen’s “Peer Gynt,” Op. 23, the basis for the Peer Gynt Suites.|
|1876||Attends the premiere of Wagner’s “Der Ring des Nibelungen” in Bayreuth.|
|1880–82||Conductor of the “Harmonien” musical society in Bergen. Thereafter he accepted no other positions.|
|1883||Visit to Bayreuth; he hears Wagner’s “Parsifal.”|
|1884||Composition of “From Holberg’s Time,” Op. 40, his most popular work.|
|from 1885||He moves into his villa “Troldhaugen” (near Bergen). Composition and revision of older works in spring and summer, concert tours in fall and winter.|
|1891||Composition of the “Lyric Suite,” Op. 54, orchestrated in 1905.|
|1907||Death in Bergen on September 4.|