Grieg: Music, Landscape and Norwegian Identity by Daniel M. Grimley

By Daniel M. Grimley

Whereas Grieg's song maintains to take pleasure in a trendy position within the live performance corridor and recording catalogues, it has but to draw sustained analytical recognition in Anglo-American scholarship. Daniel Grimley examines the function which tune and panorama performed within the formation of Norwegian cultural identification within the 19th century, and the functionality that panorama has played in Grieg's paintings. It provides new views at the relationships among track, panorama and id. This rigidity among competing musical discourses - the folklorist, the nationalist and the modernist - deals probably the most brilliant narratives in late-nineteenth and early-twentieth-century tune, and means that Grieg is a extra complicated and demanding ancient determine than his serious reception has frequently looked as if it would recommend. it really is during the contested class of panorama, this booklet argues, that those tensions might be contextualised and eventually resolved.

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A second crucial gure in the popularisation of this folk counterculture, and a signicant inuence on Grieg, was the Bergen-born violin Grinde, A History of Norwegian Music, 106. Herresthal, Med spark i gulvet, 36 ff. 72 Sørensen, ‘Development’, 26.  . ’ Herresthal, Med spark i gulvet, 39. 74 ‘I dette Øjeblik (det er Marked) toner en Halling fra Gaden fra en omvandrede Spillemand i Skindbuxer og hvid Kufte. , 100. 70 71 34 National Contexts virtuoso Ole Bull. 75 He had taken an elemental course in music theory in Christiania in 1829, and hoped to study general bass with the violinist Ernst in Paris in 1831, following the trend established by other Norwegian musicians who sought their professional classical training abroad.

How can we verify what Grieg’s intentions were, for example, when he adapted Norwegian folk music in his arrangements? Furthermore, though a history of nineteenth-century listening might seem like an attractive means of identifying how audiences understood national character in Grieg’s work, it cannot ultimately provide a fully contextual account of the way in which Grieg’s music was heard without betraying some element of our own contemporary critical perspective. Dahlhaus also identies other problems within musical constructions of nationalism that are relevant to Grieg’s folk-song arrangements.

Thrane har altså ikke forsøkt å skape et gjennomgående norsk tonespråk i syngespillet sitt. På samme måte som Bjerregaard innenfor det danske språk benyttet norsk dialekt der det falt naturlig, skapte Thrane en tilsvarende lokalkoloritt innenfor tidens europeiske musikkstil. , 31. 59 See Grinde, A History of Norwegian Music, 87. 60 An interesting musical detail is the boundary play around the pitch cells g2–a2. Though the g is dissonant, it is left unresolved at the end of the kulokk. 28 National Contexts the sense of distance, the impression of open space conveyed both by the music’s literal spatial displacement (it is sung offstage, ‘udenfor Scenen’, and presumably remains hidden from view), and by its associations with the Norwegian countryside.

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