With his “Lyric Pieces”, Edvard Grieg was writing a kind of poetic piano diary: between 1867 and 1901 he composed 66 short character pieces, published in ten books. Pieces such as “Wedding Day at Troldhaugen”, “March of the dwarfs” or “To the spring” are among Grieg’s best-known works. Alongside these fairly virtuosic pieces there are also numerous simpler dances and melodies that can be played at an early stage when learning the piano. Until now only five single books were available from Henle (HN 619, 627, 644, 681, 713), but now we are publishing the complete collection in a collected volume, with fingerings by the Norwegian pianist and Grieg specialist Einar Steen-Nøkleberg.
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- Volume I, op. 12
Edvard Grieg (1843 – 1907) was a master of the Romantic character piece for piano. It stands at the centre of his oeuvre and dominates it in quantitative terms. Besides the ten volumes of Lyric Pieces, he wrote many individual cycles of this genre, beginning with the early Four Piano Pieces op. 1 up to the late Moods op. 73. Grieg’s piano pieces, including vols. … 계속
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.|
Henle has already published half this number in individual books (...) – but this is the first time they have assemled the complete collection under one cover. It features the same editorial team, and includes a three-page preface, commentary at the end of the volume and helpful fingering suggestions which adds gloss to an impressive overall package.
Die sorgfältig aufbereitete (kompetentes Vorwort, ausführlicher kritischer Kommentar) und sehr lesefreundliche Urtext-Ausgabe von Henle gibt dem neugierigen Pianisten alle Mittel an die Hand, um sich auf Entdeckungsreise zu begeben.
Le travail de gravure est parfait, respectant notamment les doigtés d'origine.
Accuratesse, vormgeving en verantwoording zijn volledig op het hoge niveau dat we van Henle gewend zijn. De bundeling maakt de uitgave bovendien voordelig.