The most successful and best-known of nineteenth century Scandinavian composers, Edvard Grieg was one of the great exponents of romantic nationalism. He saw it as his role in life to bring Scandinavian musical and literary culture to the attention of the rest of Europe, and he succeeded in this endeavor. As composer, pianist and conductor he became a sought-after fixture in Europe’s music centers. His wife Nina was an accomplished singer, and the two traveled extensively together, popularizing his songs and piano works. In the process he helped bring the writings of Scandinavian poets – the best known being the playwright Henrik Ibsen – to
international attention.

Grieg was most comfortable with and excelled in the smaller musical forms, such as intimate songs and short piano pieces. Between 1867 and 1901 he published ten sets of short piano pieces, entitled Lyric Pieces, many of which exploit Norwegian folk idioms, particularly the six pieces comprising Op. 54, published in 1891. In 1904 Grieg orchestrated the first four of the set, publishing them as Lyric Suite: 

The opening sketch, “The Shepherd” is dreamy and evocative of the expanse of the lonely landscape. The following Norwegian March is in 6/8, unusual for a march. But this one is more festive than military. The gentle “Notturno” is broadly romantic and imitates the sound of the nightingale. Trolls have always been Norway’s bogeymen, lurking in alpine wastelands and especially under bridges. Here, in this final movement, “March of the Trolls,” they are out in force, but seemingly dancing, rather than marching. The movement opens with a wild but humorous dance, then switches unexpectedly to a gentle middle section featuring a lovely oboe solo. It returns to the wild dance with the final note, a fruitless plea by the oboe to repeat the lyric mid-section.

Additional note by Peter Bay

The Hungarian conductor Anton Seidl orchestrated five movements from Op. 54 in 1894. While Grieg was pleased by this gesture, he wasn’t completely satisfied with the results. So he revised the orchestrations of movements two through five, and made his own orchestration of movement one. Ultimately, Grieg removed “Bell-Ringing” from the Suite, but I find it one of the most interesting of the pieces in terms of harmony, and the powerful buildup of sound towards the end which explains its inclusion in
our performances. 

Program notes by:
Joseph & Elizabeth Kahn
Wordpros@mindspring.com
www.wordprosmusic.com