Thesis (Ph. D.)--University of Texas at Austin, 2003. / Vita. Includes bibliographical references. Available also from UMI Company.

Thesis (Ph. D.)--University of Texas at Austin, 2003. / Vita. "Publisher's no.: UMI 3116286." Includes bibliographical references. Also issued online.

Thesis (Ph. D.)--University of Texas at Austin, 2003. / Vita. Includes bibliographical references.

Edvard Grieg (1843-1907) is the representative of Norway Nationalism composer in the nineteenth century. His compositions consist of orchestral pieces, concertos, piano pieces and songs. Most of his works use Norwegian folksong. He promoted Norwegian folksong throughout his creative career. In 1874, Grieg collaborated with the playwright, Henrik Ibsen (1828-1906), in Ibsen¡¦s new play ¡§Peer Gynt¡¨ (1874-1876). The play contains twenty-three incidental music. Few years later (1888 & 1892), Grieg chose and rearranged eight popular pieces of ¡§Peer Gynt,¡¨ and separated them into two suites. This thesis is divided into two sections, excluding the introduction and conclusion. The first section discusses the biography of Grieg and Ibsen, and the correlation of their lives and background of the ¡§Peer Gynt.¡¨ The second section analyzes the form and characteristics of eight pieces from ¡¥Peer Gynt¡¦ Suites No. 1 and 2, and it also discusses the interpretation from a conductor¡¦s viewpoint. Examples are also provided in the discussion.

Working in the introduction briefly remind the life of the composer and readers closer Lyrical pieces, which for the analysis of piano works, the author chose. In other chapters focuses on the individual characteristics of the piano music of Edvard Hagerup Grieg and proves it on the selections. Among the discovered features include: inspiration folk creation, simple composition works, playing with basic motive, use of arpeggios, composer's creative work with octave and unison, shortened echoes, long bass, chromatic and diatonic practices and changing hands in the lead melody. It is focused on a brief analysis of the lyrical piece Wedding Day at Troldhaugen, proves on analysis discovered features work and strive to interpret the songs where the author comes from her own experience and from listening to recordings stored on Bergen library and recordings of the Edvard Hagerup Grieg interpretation. In conclusion, the author presents a chapter on the possible use of Lyrical pieces.

Det här arbetet handlar om min instuderingsprocess av Edvard Griegs sonat för violin och piano op. 8. Under arbetets gång har jag huvudsakligen fokuserat på två frågeställningar: Hur kan jag använda fingersättningar på bästa sätt för att underlätta för intonation och musikalisk idé? Hur kan pianostämman i en sonat för violin och piano hjälpa mig att tolka violinstämman? De fingersättningar som föreslogs i utgåvan jag använde fungerade inte så bra för mig. Detta fick mig att fundera över hur man kan använda fingersättningar för att underlätta för intonation och musikalisk intention. På grund av styckets överlag något folkliga karaktär har jag utgått ifrån vilka fingersättningar som känns mest naturliga för att få fram ett så enkelt och lättillgängligt uttryck som möjligt. Dessutom studerade jag pianostämman innan violinstämman för att kunna basera frasering och musikaliska idéer på harmonik och andra impulser som ofta kommer från pianostämman.

In 1879-1880, E. W. Fritzsch in Leipzig issued a most unusual collection entitled <i>Arrangements of Mozart Piano Sonatas with a freely composed second piano part without opus numbers</i>, prepared by the noted Norwegian composer, Edvard Grieg (1843-1907). The collection of Griegs arrangement of Mozarts works comprises the <i>Piano Sonata in F major, KV 533/494</i> (composed in 1788), <i>Fantasia and the Piano Sonata in C minor, KV 475 and KV 457</i>(composed in 1784), the <i>Piano Sonata in C major, KV 545</i> (composed in 1788), and the <i>Piano Sonata in G major, KV 189h=283</i> (composed in 1775). According to the letter to Dr. Max Abraham, Grieg originally prepared his arrangements of Mozarts four sonatas for pedagogical reasons. In his article Mozart (November 1897), Grieg also mentions his own Mozart editions:<p> <i>The writer of this article has himself attempted, by using a second piano, to impart to several of Mozarts pianoforte sonatas a tonal effect appealing to our modern ears; and he wishes to add, by way of apology, that he did not change a single one of Mozarts notes, thus preserving the respect we owe to the great master. It is not my opinion that this was an act of necessity; far from it. But provided a man does not follow the example of Gounod, who transformed a Bach prelude into a modern, sentimental, and trivial show piece, of which I absolutely disapprove, but seeks to preserve the unity of style, there is surely no reason for raising an outcry over his desire to attempt a modernization as one way of showing his admiration for an old master.</i><p> With regard to this collection of Mozart sonatas, this thesis documents the influence of Mozart, a Viennese classical composer, on Grieg, a Norwegian Romantic composer, with a special focus on Mozarts <i>Piano Sonata in F Major, KV 533/494</i> in the arrangement by Grieg. With Griegs bold claim that he did not change a single one of Mozarts notes, this study reveals the authenticity through the critical examination of the musical text in the context of the primary sources.

In 1879-1880, E. W. Fritzsch in Leipzig issued a most unusual collection entitled <i>Arrangements of Mozart Piano Sonatas with a freely composed second piano part without opus numbers</i>, prepared by the noted Norwegian composer, Edvard Grieg (1843-1907). The collection of Griegs arrangement of Mozarts works comprises the <i>Piano Sonata in F major, KV 533/494</i> (composed in 1788), <i>Fantasia and the Piano Sonata in C minor, KV 475 and KV 457</i>(composed in 1784), the <i>Piano Sonata in C major, KV 545</i> (composed in 1788), and the <i>Piano Sonata in G major, KV 189h=283</i> (composed in 1775). According to the letter to Dr. Max Abraham, Grieg originally prepared his arrangements of Mozarts four sonatas for pedagogical reasons. In his article Mozart (November 1897), Grieg also mentions his own Mozart editions:<p> <i>The writer of this article has himself attempted, by using a second piano, to impart to several of Mozarts pianoforte sonatas a tonal effect appealing to our modern ears; and he wishes to add, by way of apology, that he did not change a single one of Mozarts notes, thus preserving the respect we owe to the great master. It is not my opinion that this was an act of necessity; far from it. But provided a man does not follow the example of Gounod, who transformed a Bach prelude into a modern, sentimental, and trivial show piece, of which I absolutely disapprove, but seeks to preserve the unity of style, there is surely no reason for raising an outcry over his desire to attempt a modernization as one way of showing his admiration for an old master.</i><p> With regard to this collection of Mozart sonatas, this thesis documents the influence of Mozart, a Viennese classical composer, on Grieg, a Norwegian Romantic composer, with a special focus on Mozarts <i>Piano Sonata in F Major, KV 533/494</i> in the arrangement by Grieg. With Griegs bold claim that he did not change a single one of Mozarts notes, this study reveals the authenticity through the critical examination of the musical text in the context of the primary sources.

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Edvard Griegs 100-årsjubileum i juni 1943 var en spänningsfylld händelse i det tyskockuperade norska musiklivet, som i Oslo markerades med tillställningar av bland annat Filharmonisk Selskap, revyscenen Chat Noir och den nazistiska regimen. Genom att diskutera Griegjubiléets politiska signifikans för nazister och anti-nazister (s.k. jøssinger), samt analysera tonsättarens symboliska värde för respektive läger, förklarar uppsatsen varför båda lägren ville fira jubiléet och ha Grieg på sin sida. Huvudsyftet med detta är att öka kunskapen om de musikaliska och kulturella aspekterna av ockupationstiden i Norge. De källor som används är samtida tidningar, arkivmaterial från Kultur- og Folkeopplysningsdepartementet, samt Hans Jørgen Hurums samtidsskildring Musikken under okkupasjonen. Eftersom uppsatsen bygger på tolkning av historiskt material, tillämpas hermeneutisk metod.   Uppsatsen visar att nazisterna använde Griegjubiléet som kulturell propaganda, för att ge sken av ett lugnt och harmoniskt musikliv, vilket i sin tur skulle påvisa nationens välmående. Griegjubiléet var viktigt för nazisterna, eftersom Grieg var en viktig symbol för deras radikala kulturnationalism och framtidsvisioner. För jøssingene innebar Griegjubiléet en möjlighet att känna samhörighet med varandra och uttrycka en stilla protest mot regimen i form av bojkotter mot statligt arrangerade Griegkonserter. För dem hade Griegs musik ett trösterikt värde, samtidigt som den i likhet med 1800-talets kulturnationalism fick symbolisera frihet, självständighet och demokrati. Griegjubiléet i Oslo 1943 blev ett avgörande slag mellan radikal kulturnationalism och patriotism om framtidens musikliv, vilket slutade med total bojkott och slutligen död för det offentliga konsertlivet under resten av ockupationen.