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Edvard Grieg (1843-1907)
Concerto for Piano in A Minor
Composed: 1868
Premiered: 1869, Copenhagen
Duration: 30 minutes

At the time of Edvard Grieg’s birth in 1843 in Bergen, Norway was just beginning to become aware of its national identity. Even the Norse language had to be constructed from the dialects of the various isolated communities in the rugged western half of the Scandinavian peninsula. Grieg played a prominent part in the growth of Norway, not only musically but politically. The characteristic colours and rhythmic patterns of Norse folk music are blended in Grieg’s works with techniques derived from the German romantics, particularly Schumann. Although in later years Grieg described his student years at the Leipzig Conservatory as useless, much of his technique, both as a pianist and as a composer, is rooted in his experiences there. His Piano Concerto is consciously modelled on Schumann’s, which he first heard in Leipzig.

From 1867 to 1877, Grieg was in Oslo, earning his living under less than ideal conditions: “Musicians are stifled in Norway,” he wrote. “As a rule, material want prevents them from freeing themselves.” He frequently expressed his longing to get away from the north and its gloom, both physical and social — to Italy, to Germany, even just to Denmark. In June 1868, a holiday in Copenhagen provided the needed quiet, relaxed atmosphere to allow him to compose his first really successful work, generally regarded as his greatest: the Piano Concerto in A Minor. By the time of its premiere in April 1869 in Copenhagen, Grieg was once again too overburdened by work in Oslo to attend, and he heard of its triumphant success by way of letters from friends.

When Grieg took the score of the concerto to Liszt in 1870, the famous virtuoso played it at sight and expressed his admiration, providing a great boost to Grieg’s confidence. Although he was not himself a very vivid pianist, Grieg played the work for years all over Europe and America to tremendous applause. Not all the critics were enthusiastic, however. Debussy in 1903 was brutally sarcastic about a performance in Paris: “Pink candy filled with snow” was his verdict. But the public at large has always felt drawn to it. From our vantage point in the 21st century, we see its powerful cross-rhythms foreshadowing the music of Stravinsky and Bartók, and the obliteration of the tyranny of the bar-line.

Program note by the late Dr. C.W. Helleiner

Edvard Grieg (1843-1907)
Concerto for Piano in A Minor
Composed: 1868
Premiered: 1869, Copenhagen
Duration: 30 minutes

At the time of Edvard Grieg’s birth in 1843 in Bergen, Norway was just beginning to become aware of its national identity. Even the Norse language had to be constructed from the dialects of the various isolated communities in the rugged western half of the Scandinavian peninsula. Grieg played a prominent part in the growth of Norway, not only musically but politically. The characteristic colours and rhythmic patterns of Norse folk music are blended in Grieg’s works with techniques derived from the German romantics, particularly Schumann. Although in later years Grieg described his student years at the Leipzig Conservatory as useless, much of his technique, both as a pianist and as a composer, is rooted in his experiences there. His Piano Concerto is consciously modelled on Schumann’s, which he first heard in Leipzig.

From 1867 to 1877, Grieg was in Oslo, earning his living under less than ideal conditions: “Musicians are stifled in Norway,” he wrote. “As a rule, material want prevents them from freeing themselves.” He frequently expressed his longing to get away from the north and its gloom, both physical and social — to Italy, to Germany, even just to Denmark. In June 1868, a holiday in Copenhagen provided the needed quiet, relaxed atmosphere to allow him to compose his first really successful work, generally regarded as his greatest: the Piano Concerto in A Minor. By the time of its premiere in April 1869 in Copenhagen, Grieg was once again too overburdened by work in Oslo to attend, and he heard of its triumphant success by way of letters from friends.

When Grieg took the score of the concerto to Liszt in 1870, the famous virtuoso played it at sight and expressed his admiration, providing a great boost to Grieg’s confidence. Although he was not himself a very vivid pianist, Grieg played the work for years all over Europe and America to tremendous applause. Not all the critics were enthusiastic, however. Debussy in 1903 was brutally sarcastic about a performance in Paris: “Pink candy filled with snow” was his verdict. But the public at large has always felt drawn to it. From our vantage point in the 21st century, we see its powerful cross-rhythms foreshadowing the music of Stravinsky and Bartók, and the obliteration of the tyranny of the bar-line.

Program note by the late Dr. C.W. Helleiner