Grieg’s Third Violin Sonata is one of his major creations and stands alongside the sonatas of Johannes Brahms and César Franck at the pinnacle of late nineteenth century chamber music. One small measure of the work’s renown is its occurrence in Thomas Mann’s novel "Doktor Faustus". The sonata has been growing more popular ever since its first publication, and it is now high time for it to appear in an urtext edition from Henle. A preface and detailed editorial notes provide interesting background material on the work’s source tradition.
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Grieg’s Third Violin Sonata, op. 45, is the last piece of chamber music he completed; indeed, it is his last large-scale composition altogether. All the same, it cannot be called a work of his old age as he wrote it twenty years before his death. There are thus no traits of a late style to be found in it; on the contrary, it has a fresh, almost youthful quality and shows … more
About the composer
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.|
About the authors
Bella ed elegante, come sempre, l'edizione Henle, con un' interessante e documentata introduzione.
Die von Egon Voss betreute Neuausgabe bietet gewohnte Henle-Qualität für Theorie und Praxis: ein sauber recherchierter kritischer Bericht, gute Fingersätze für beide Instrumente und ein klares Druckbild. Für interessierte Duopartner sicherlich eine gute Wahl.