Edvard Hagerup Grieg (1843 – 1907) was a Norwegian
composer and pianist. He is widely considered one of
the leading Romantic era composers, and his music is
part of the standard classical repertoire worldwide.
His use and development of Norwegian folk music in his
own compositions brought the music of Norway to
international consciousness, as well as helping to
develop a national identity, much as Jean Sibelius did
in Finland and Bedřich Smetana did in Bohemia.
From his extensive body of ...(+)
Edvard Hagerup Grieg (1843 – 1907) was a Norwegian
composer and pianist. He is widely considered one of
the leading Romantic era composers, and his music is
part of the standard classical repertoire worldwide.
His use and development of Norwegian folk music in his
own compositions brought the music of Norway to
international consciousness, as well as helping to
develop a national identity, much as Jean Sibelius did
in Finland and Bedřich Smetana did in Bohemia.
From his extensive body of works for piano, history
has, of course, singled out the Concerto in A minor for
special treatment, but there are a number of other
musical gems hidden among the ranks. Many of the Lyric
Pieces (ten books, in all) are quite becoming, and the
four Album Leaves have earned a special place in the
hearts of a handful of pianists; but it is the striking
Ballade in G minor, Op. 24, in which the brightest and
best of his pianistic sentiments find expression.
The Ballade, composed during 1875 and early 1876, takes
the melody of an ancient Norwegian folk ballad, "Den
nordlansk hondestand" ("The Northland Peasantry"), as
the source material for a handful of ingenious
variations. Grieg sets the initial presentation of the
somber, repetitive theme (Andante espressivo) against a
chromatically sliding bass and two colorful middle
voices. The delicate opening phrase is all contained
within a single lengthy slur and marked piano e molto
legato; a middle melodic strain offers a more
lighthearted thought.
The first nine variations are simple elaborations of
the theme that retain its basic length and melodic
outline. In the first variation, the steady three-four
quarter notes of the theme dissolve into gentle offbeat
triplets; the process of acceleration (built in to the
note-values, not played out by the performer) continues
in the following allegro agitato, which fills every
beat of its expanded nine-eight meter with sixteenth
notes. Although marked Adagio, the third variation
retains something of the flowing sixteenth note
character that has been developing in the previous
variation.
The fourth variation is impish and chromatic, while the
fifth (Piu lento) balances fiery single-voice recitando
gestures with calmer but fuller cadential figures.
Variations five and six are both canons at the octave
that fall under an Allegro scherzando indication.
Deeply contrasting is the following Lento -- a kind of
funeral march. The main theme is given, darkly, over a
slow offbeat in the very low bass register; the
recurring pedal tone is usually interpreted to be a
musical representation of a bell tolling. The ninth
variation is not so much a real section unto itself,
but rather more of a transition to the remainder of the
Ballade: four variations that are cast as continuous
sections of one large Finale.
The tenth variation, or first section of the Finale
(marked poco allegro e alla burla) is a witty and
technically challenging dance. Variation 11 is marked
più animato, and moves to harmonically distant areas.
After a characteristic modulation has been made back to
the key of G, the mighty, Meno allegro e maestoso
(variation 12) begins. This is a Lisztian outburst of
sheer pianistic forcefulness: powerful downbeat chords
are offset by strong octaves in the extreme registers
of the instrument. Both the three-four meter and the
original minor mode of the theme are back for Allegro
furioso -- and Grieg really does mean furious. Fiery
arpeggiated chords moving in opposite directions
struggle against one another; the tension of contrary
motion is heightened by sharp harmonic conflict.
Resolution occurs at the beginning of the last
variation (prestissimo), a breathtaking plunge back
into the theme as we first heard it -- now even more
subdued and melancholy than it was before.
Source: AllMusic
(https://www.allmusic.com/composition/ballade-for-piano
-in-g-minor-in-the-form-of-variations-on-a-norwegian-me
lody-op-24-mc0002355671).
Although originally composed for Piano, I created this
interpretation of the Ballade in G Minor (Opus 24) for
Flute & Strings (2 Violins, Viola, Cello & Bass).
PARTITION