My professor of keyboard harmony at The Juilliard School, Baruch Arnon, suggested that Edvard Grieg was a first-rate composer for the piano. Mr. Arnon was an all-business type of instructor, so when he gave off-topic recommendations it was worth noting. Grieg is one of those composers that a pianist typically knows, but doesn’t know well. As a child, I had played Elfin Dance for a National Piano Guild of Piano Teachers exam. As a young adult, I heard the Holberg Suite played in the string orchestra arrangement played by the Orpheus Chamber Orchestra at Carnegie Hall. I knew that some day I had to play that on the piano. The story of Grieg Galore follows.
From Holberg’s Time
The connection between falling in love with that work and learning it took more than 30 years! The five pieces that make up this suite are dances written in a Baroque style to honor the eponymous Dano-Norwegian playwright. Though Grieg wrote the pieces in 1884, they celebrate Holberg’s 200th birthday. Thus the framework of the Baroque, with the unmistakable Norweigan romantic harmonies worked into the dances. Even though the Holberg Suite is much more well-known in its string orchestra arrangement, it was originally written for piano.
I programmed this work as part of my Piano Postludes, which take the place of organ postludes at First Methodist once per quarter. The Chopin Waltzes I played in May worked so well in the online church format that I sought to play more piano music. To listen to each one of the movements, you’d have to fast forward to the end of each church service between May 31st and June 28th. They are available on the Facebook page of First Methodist. While you are welcome to do that, I plan to reprise these pieces. They will appear either on a mini-recital or on my Weekly Acorn series.
Peer Gynt, Suite No. 1
Certainly more famous, but not originally written for the piano, are the orchestral pieces written as incidental music to Henrik Ibsen’s play Peer Gynt. From the smattering of incidental pieces, two suites were extracted, the first of which has best stood the test of time. When most classical aficionados think of Peer Gynt, they are likely thinking of the four individual pieces comprising this suite. Despite being originally written for orchestra, these pieces work really well on piano.
When I originally conceived doing the Holberg Suite as part of Piano Postludes, I thought programming the Peer Gynt on the Weekly Acorn would be the perfect complement for one June program. However, they are a bit trickier to learn than I first assessed, so I will instead debut them in July.
About Grieg’s Fame
Grieg never attained the fame of other contemporary first-rate composers. I think there are two obvious clues. One, he stuck close to his Norweigan roots, including melodies from traditional music in his compositions. Two, he didn’t like to travel, and only did it begrudgingly. One might say from today’s perspective that he was poor in marketing!
Although Dvorak was very much a composer in the same mold, championing his Bohemian routes, he took a more international approach. He left Prague for a three-year stay in the United States. He cemented fame in the United States that endures to this day by composing his New World Symphony. The piece is filled with American musical and literary references. While Grieg took a different route, his music is wonderful, and deserves to be celebrated! A concise history of Grieg’s life can be found on the Classic FM Website.