Edward Grieg. A quiz game based on the most famous works. Edvard Grieg: biography, video, interesting facts, creativity What works did Grieg write

In history musical cultures the peoples of northern Europe - Denmark, Norway, Sweden - have common features due to their common economic and socio - political development.

In particular, they are characterized by the later, in comparison with European countries, the formation of composing schools. In the second half of the 19th century, among these schools, the Norwegian was especially advanced. It was headed by Edvard Grieg, a composer of world importance, who influenced the work of not only Scandinavian authors, but all European music in general.

Norway at this time was going through a difficult period of development. Weaker economically, it was subordinate either to Denmark (16th - 19th centuries), then to Sweden (19th century). It was only in 1905 that Norway finally freed itself from political dictatorship.

Norwegian culture in general, and musical culture in particular, experienced a significant flowering during this time. For example - Ludwig Mathias Linnemann, since 50, has been doing a lot of collecting musical folklore, famous violinist Ole Bull, nicknamed "the northern Paganini", according to Grieg, was "the first to emphasize the importance of Norwegian folk songs for national music", Halfdan Kjerulf is nominated as the author of numerous romances; he is the author of the music for Norway's national anthem.

Grieg, however, stands out sharply from his predecessors and contemporaries. Like Glinka in Russia or Smetana in the Czech Republic, he embodied the folk flavor in his music with extraordinary clarity. “I drew,” he said, “rich treasures in the folk tunes of my homeland and from this treasure I tried to make national art”. Having created such art, Grieg became the founder of the Norwegian musical classics, and his creations are the property of the world artistic culture.

Edward Hagerup Grieg

Edward Hagerup Grieg was born in June 1843. His ancestors were Scots (by the name of Greig - famous Russian admirals S.K. and A.S. Greigy - also belonged to this family). The family was musical. Mother, a good pianist, taught the children music herself.

Bergen, where Grieg was born, was famous for its national traditions especially in the field of theater; here Henryk Ibsen and Björnstierne Björsnon began their activities; here Ole Bull was born, it was he who first drew attention to the gifted boy (Grieg is already composing at the age of 12), and advises his parents to send him to the Leipzig Conservatory.

Grieg later recalled without pleasure the years of conservative education - the conservatism of his teachers, their isolation from life. However, staying there gave him a lot: the level musical life was high enough, and outside the conservatory, Grieg got involved in music contemporary composers, especially Schumann and Chopin fell in love with him.

Grieg's creative research was warmly supported by Ole Bull - during his joint travels in Norway, he devoted his young friend to the secrets of folk art. And soon they already clearly manifested individual traits Grieg style. No wonder they say - if you want to join the folklore of Norway - listen to Grieg.

More and more he improved his talent in Christiania (now Oslo). Here he writes great amount his most famous works. It was here that his famous Second Violin Sonata, one of his favorite works, was born. But Grieg's work and his life in Christiania were full of struggle for the recognition of the folk color of Norwegian art in music, he had many enemies, opponents of such innovations in music. Therefore, he especially remembered the friendly power that Liszt had shown him. By that time, having taken the dignity of abbot, List lived in Rome and did not personally know Grieg. But, having heard the first violin sonata, I was delighted with the freshness and extraordinary color of the music, and sent an enthusiastic letter to the author. He told him: "Keep up the good work ... .. - and do not let yourself be intimidated! ..." This letter played a big role in the biography of Grieg: the moral support of Liszt strengthened the national principle in Edward's musical work.

And soon Grieg leaves Christiania and settles in his native Bergen. The next, last, long period of his life begins, marked by great creative successes, public recognition at home and abroad.

This period of his life opens with the creation of music for Ibsen's play "Peer Gynt". It was this music that made the name of Grieg famous in Europe. All his life, Grieg dreamed of creating a national opera, which would use the images of folk historical legends and the heroic sagas. In this he was helped by communication with Bjurston, with his work (by the way, many works by Grieg were written on his texts).

Grieg's music is gaining great popularity, penetrating the concert stage and home life. The feeling of deep sympathy evokes the appearance of Edvard Grieg as a person and an artist. Responsive and gentle in dealing with people, in his work he was distinguished by honesty and integrity. The interests of his native people were above all for him. That is why Grieg acted as one of the greatest realistic painters of his time. In recognition of his artistic merit, Grieg was elected a member of a number of academies in Sweden, Holland and other countries.

Over time, Grieg increasingly eschewed the noisy metropolitan life. In connection with his touring tours, he has to visit Berlin, Vienna, Paris, London, Prague, Warsaw, while in Norway he lives in seclusion, mainly outside the city, first in Lufthus, then near Bergen in his estate called Toldhaugen, that is, "Hill trolls ", and devotes most of his time to creativity.

And yet he does not give up his musical and social work. In the summer of 1898 he organized the first Norwegian music Festival, where all the major musical figures of that time gathered. The outstanding success of the Bergen festival attracted everyone's attention to Grieg's homeland. Norway could now consider itself an equal participant in the musical life of Europe!

On June 15, 1903, Grieg celebrated his sixtieth birthday. From all parts of the world, he received about five hundred congratulatory telegrams (!). The composer could be proud: it means that his life was not in vain, it means that he brought people joy with his work.

Unfortunately, with age, Grieg's health deteriorated greatly, pulmonary diseases more and more often afflict him ... Grieg died on September 4, 1907. His death was marked in Norway with national mourning.

List of works by E. Grieg

Piano works
Many small plays (op. 1, published in 1862); 70 contained in 10 "Lyric notebooks" (published from 1879 to 1901)
Sonata in e - moll op. 7 (1865)
Ballads in the form of variations, Op. 24 (1875)

For piano four hands
Symphonic pieces, op. 14
Norwegian dances, op. 35
Waltzes - caprices (2 pieces) op. 37
Old Norse romance with variations, op. 50 (sixth orchestral edition)
4 Mozart Sonatas for two pianos four hands (F major, c minor, C major, G major)

Songs and Romances
In total - with those published posthumously - over 140.

Chamber instrumental works
Three Violin Sonatas (F - major, G - major, c - moll)
Cello sonata a - moll, op. 36 (1883)
String quartet, op. 27 (1877 - 1878)

Symphonic works
"Autumn", overture, op. 11 (1865 - 1866)
Piano Concerto in a - moll, op. 16 (1868)
2 elegiac melodies (based on their own songs) for string orchestra, op. 34
"From Holberg's time", suite (5 pieces) for string orchestra, op. 40
2 melodies (based on their own songs) for string orchestra, op. 53
3 orchestral pieces from "Sigurd Yorsalfar" op. 56 (1892)
2 Norwegian melodies for string orchestra, op. 63
Symphonic dances on Norwegian motives, op. 64

Vocal and symphonic works
"At the Gates of the Monastery" for female voices - solo and chorus - and orchestra, op. 20 (1870)
"Homecoming" for male voices - solo and chorus - and orchestra, op. 31 (1872)
"Lonely" for baritone, string orchestra and two French horns, op. 32 (1878)
Music to Ibsen's play "Peer Gynt" op.23 (1874 - 1975)
"Bergliot" for recitation with orchestra, op. 42 (1870 - 1871)
Scenes from "Olaf Trygvason" for soloists, chorus and orchestra, op. 50 (1889)

Choirs
Album for male singing (12 choirs) op. thirty
4 psalms on old Norse melodies for mixed choir a cappella with baritone or bass op. 34 (1096)

Literary works
Among the published articles are the main ones: "Wagner's Performances in Bayreuth" (1876), "Robert Schumann" (1893), "Mozart" (1896), "Verdi" (1901), an autobiographical essay "My First Success" (1905).

Edvard Grieg (1843-1907) was the first Norwegian composer whose work went beyond the borders of his country and became the property of common European culture. Thanks to Grieg, the music school in Norway has become on a par with other national schools in Europe, although its development proceeded in very difficult conditions.

For a long time (until 1905) Norway could not achieve state independence. Political dependence on Denmark (XIV-XVIII centuries) and Sweden (XIX century) hampered the development of the country's economy and culture (up to mid XIX century, she not only did not have professional art, but also a single state language).

Life and creative way Griega coincided with a period of unusually bright flourishing of Norwegian culture associated with the awakening of national identity. In the 60s and 70s of the 19th century, leading Norwegian artists turned to the study of the national epic, folk tales, and musical folklore. In Bergen, in the homeland of Grieg, the National Norwegian Theater opened, the work of which was headed by Henrik Ibsen (the most prominent Norwegian playwright, author of the drama "Peer Gynt"). Outstanding Violinist-Improviser Ole Bull began to promote Norwegian folk music, performing his own concert fantasies on folk themes. Author of the Norwegian National Anthem Nurdrok together with Grieg he founded the musical society "Euterpa" in Copenhagen, the purpose of which was to disseminate and promote the work of young Scandinavian composers. As the author of numerous romances, Hierulf ... And yet it was Grieg who managed to deduce music school Norway to the world level. The conceptual center of all Grigov's creativity was the image of Norway. Its embodiment is associated either with the heroics of the Norwegian epic, then with the images of national history and literature, then with the fantasy of Scandinavian fairy tales or pictures of the harsh northern nature. The deepest and most artistically perfect generalization epic image Motherland became 2 orchestral suites "Peer Gynt", in which Grieg gave his own interpretation of the Ibsen story. Leaving the characterization of Per as an adventurer, individualist and rebel outside the scope, Grieg created a lyric-epic poem about Norway, sang the beauty of its nature ("Morning"), drew bizarre fabulous images("In the cave of the mountain king"). The lyrical images of Per's mother, old Oze, and his bride Solveig acquired the meaning of eternal symbols.

Grieg's brightly original style was influenced by Norwegian folklore, which has a very long history. Its traditions were formed in the lyric-epic songs of the skalds, in the shepherd's mountain melodies ( locke), in Norwegian dances and marches.

Grigovsky melodies have absorbed the most characteristics Norwegian folk songs, such as, for example, a combination of pentatonic moves with tritone ones, or the melodic turn of T - the opening tone - D. This intonation, which has become a kind of musical symbol of Norway, is found very often in Grieg's music (for example, in many themes, in "Nocturne" from " Lyric Pieces "). Often it "moves" to other degrees of the scale, as, for example, in Solveig's song, where this melodic move comes from D (through an increased IV degree), and then from S.

Under the influence of folklore, characteristic features have also developed harmony Grieg:

• an abundance of organ points;
• frequent use of Lydian and Dorian modes;
• raising the IV degree of the fret in both major and minor is a favorite Grigovian alteration;
• flexible modal variability, as a kind of play of "light and shadow" (minor d in major, major S in minor, etc.) t. of the slow part of the fp. concert

In general, the harmonic language of Grieg's works is distinguished by its special brilliance, the widespread use of chords with a multi-grater structure, which, again, is rooted in Norwegian folklore (many Norwegian melodies contain several thirds moves in one direction).

Numerous Grieg dances are most directly associated with Norwegian folklore. They rely on the peculiar rhythm of the Norwegian Hallings, Springdances, Gangars. Gangar is a Norwegian peasant march. Halling - solo male dance with very complex, almost acrobatic movements. Springdance (or springar) - a perky "jumping dance". Grieg often emphasizes the typical rhythmic details of all these dances - a combination of triplet and dotted patterns, unexpected accents on weak beats, all kinds of syncopations.

Almost all musical genres - piano, vocal, symphonic (overture "Autumn", suite "From Holberg's time" for string orchestra) and vocal-symphonic (theater music), chamber-instrumental (string quartet, 3 sonatas for violin and piano, 1 sonata for cello and piano). And yet he showed himself most vividly in the field miniatures - piano and vocal. Contemporaries called him a genius miniaturist, a master of small forms.

Where his personal observations of life, impressions of the surrounding world, nature, thoughts and feelings, thoughts about the Motherland are captured. The composer wrote about 150 piano miniatures. 66 of them are included in the cycle of 10 notebooks "Lyric Pieces", which took the main place in his piano work (besides him - "Poetic Pictures", "Humoresques", "From People's Life", "Album Leaves", "Waltzes-Caprices "). Grieg also dedicated 3 major works to the piano: an e-moll sonata, a ballad in the form of variations and a piano concerto, one of the best in concert literature.

Along with piano music, (about 150 songs and romances, including vocal cycles "Melodies of the Heart" to the words of G.H. Andersen, "Along the Rocks and Fjords", "Norway", "Child of the Mountains"). It is significant that the basis of Grieg's vocal compositions was made up of Norwegian poetry (poems by Bjornson, Paulsen, Ibsen).

Grieg proved himself not only as a composer. He was also an excellent performer (performed as a conductor and pianist, most often in collaboration with the singer Nina Hagerup, who was his wife); music critic; public figure(headed the Philharmonic Society in Christiania, held the first festival of Norwegian music in Bergen, etc.)

Until the last years of his life, Grieg's educational activities continued (he directed concerts of the Bergen musical society "Harmony", the organization of the first festival of Norwegian music in 1898). Concentrated composer's work was replaced by tour trips (Germany, Austria, England, France); they contributed to the spread of Norwegian music in Europe, brought new contacts, acquaintances with major contemporary composers - J. Brahms, C. Saint-Saens, M. Reger, F. Busoni.

This is mainly music for dramatic performances... The opera "Olaf Trygvason" remained unfinished.

Edvard Grieg is a Norwegian composer whose creative heritage remarkable for its national flavor. He nurtured his talent under the careful guidance of his mother, and then of other famous musicians. Fate gave him many acquaintances with the best people of that time, and he took a worthy place next to them in the history of world and Scandinavian culture. Creative and personal life Edward was closely associated with difficult obstacles, but Grieg did not retreat a single step from his goal. And his patience was rewarded with loud glory the brightest representative Norwegian musical tradition. But Grieg was humble, preferring the secluded enjoyment of nature and music in an estate near his birthplace.

Read a short biography of Edvard Grieg and many interesting facts about the composer on our page.

Brief biography of Grieg

The full name of the composer is Edward Hagerup Grieg. He was born in the city of Bergen on June 15, 1843, the son of British Vice-Consul Alexander Grieg and pianist Gesina Hagerup. His father was the third in the dynasty of representatives of Great Britain, which was initiated by his grandfather, a wealthy merchant who moved to Norway in 1770. Edward's mother had remarkable musical abilities: she graduated from the conservatory in Hamburg, despite the fact that only young men were admitted to this educational institution. It was she who contributed to the development of the musical talent of all five children in the family. In addition, piano lessons were included in the compulsory education program for the heirs of respectable families. At the age of 4, Edward sat down at the piano for the first time, but then no one imagined that music would become his destiny.

As expected, at the age of ten, the boy went to a regular school. He did not demonstrate diligence in his studies from the very first days - general education subjects interested him much less than writing.

From the biography of Grieg, we learn that when Edward was 15 years old, the famous Norwegian musician Ole Bull dropped in to visit his parents. The boy showed him his first works. Apparently they touched Bull, as his expression instantly became serious and thoughtful. At the end of the performance, he talked about something with the boy's parents, and told him that he was going to Leipzig to get a good musical education.

Edward passed the entrance examinations to the conservatory successfully, and in 1858 his studies began. He was extremely selective in relation to his own teachers, allowing himself to ask the leadership of the conservatory to replace his mentor, with whom he did not coincide with musical views and preferences. And, thanks to his remarkable talent and diligence in his studies, he was always met halfway. Over the years of his studies, Edward attended many concerts, enjoying the works of great musicians - Wagner, Mozart, Beethoven... In 1862, the Leipzig Conservatory graduated Edvard Grieg with excellent marks and rave recommendations. In the same year, his debut concert took place in Sweden, in the city of Karlshamn. The brilliant graduation was overshadowed only by the state of Grieg's health - the pleurisy earned during that period will accompany the composer all his life, periodically giving serious complications.

Copenhagen and the personal life of the composer

Returning to his native Bergen, Grieg soon realized that there were no prospects for his professional development, and in 1863 he moved to Copenhagen. The choice of the city was not accidental - it was here at that time that the center of the musical and cultural life all Scandinavian states. Copenhagen had a fateful influence on Grieg's work: his acquaintance with many artists of that time, educational activities and deepening into the history of the Scandinavian peoples formed his unique style. Grieg's musical creations began to acquire clear national features. Together with other young musicians, Grieg promotes Scandinavian musical motives “to the masses,” and he himself is inspired by the rhythms of songs, dances, images and forms of folk etudes.

In Copenhagen, Edvard Grieg meets the main woman of his life - Nina Hagerup. The young successful singer reciprocated Grieg's passionate confession. On the way to their boundless happiness there was only one obstacle - family ties. Nina was Edward's maternal cousin. Their union caused a storm of indignation among relatives, and for all subsequent years they became outcasts in their own families.

They got married in 1867. It was not just a marriage between two lovers, it was also a creative tandem. Nina performed songs and plays to the music of Grieg, and, according to the observations of contemporaries, there was no other performer who would fall into the mood of his compositions so much. Start family life was associated with monotonous work that did not bring serious success and income. Having settled in Christiania (Oslo), Nina and Edward traveled around Europe giving concerts. Sometimes he conducted, gave piano lessons.

In 1868, a daughter was born to a young family. In honor of her father, Edward named her Alexandra. But the happiness did not last long - at the age of one, the girl died of meningitis. This event became fatal for the Grieg family - the spouse was grieving at the loss, and their relationship was never the same. Joint concert activity continued, but still no success. Grieg was on the verge of a deep depression.

In 1872, his play "Sigurd the Crusader" received recognition, the Swedish authorities even assigned him life support. So the unexpected glory did not please Grieg - he began to dream of a calm, measured life, and soon returned to his native Bergen.

Small homeland inspired Grieg to new achievements - he composes music for Ibsen's drama "Peer Gynt", which to this day is considered one of the most significant works Grieg and an important aspect of Norwegian culture in general. It reflects both the personal experiences of the composer and his view of the rhythm of life in modern European capitals. And Grieg's favorite folk motives emphasized his admiration for his native Norway.

The last years of life and work

In Bergen, Grieg's health deteriorated significantly - pleurisy threatened to turn into tuberculosis. In addition, relations with Nina collapsed, and in 1883 she left her husband. Grieg found the strength to return her, realizing that despite the universal fame, there are very few really close people around him.

Edward and Nina began touring again, but he was getting worse - lung disease was rapidly developing. Having visited almost all European capitals, Grieg was going to hold another concert in London. While waiting for the ship, he and Nina stayed at a hotel in Bergen. A new attack did not allow Grieg to hit the road, and, after being hospitalized, he died on September 4, 1907.

Interesting facts about Grieg

• Edward did not seek to get an education in a regular school, avoiding lessons by all means. According to some of his biographers, sometimes he deliberately wet his clothes, as if caught in the rain, so that he was sent home to change. It was a long way to go home, and Edward simply skipped classes.
• Grieg made his first attempts to compose music at the age of 12.
• Once Edward took a notebook with his first compositions to school. The teachers, who disliked the boy for his inattention to his studies, ridiculed these notes.

• During his life in Copenhagen, Grieg met and became friends with Hans Christian Andersen. The composer wrote music for several of his poems.
• Edward proposed to Nina Hagerup on Christmas night in 1864, in the company of young cultural figures, presenting her with a collection of his love sonnets entitled "Melodies of the Heart".
• Grieg has always admired creativity Franz Liszt, and one day their personal meeting took place. In a difficult period of Grieg's life, Liszt attended his concert, and then came up and wished him not to stop and not be afraid of anything. Edward saw this as a kind of blessing.
• Grieg's favorite home was the estate near Bergen, which the composer called "Trollhaugen" - "Troll Hill".
• Grieg took an active part in the opening of the Academy of Music in Christiania in 1867.
• According to the biography of Grieg, in 1893, the composer was awarded the title of Doctor of Cambridge University.
• Grieg had a kind of talisman - a clay figurine of a frog. He always took her with him to concerts, and before going on stage he had the habit of rubbing her back.

• Grieg's biography says that in 1887, Edward and Nina Hagerup met with Tchaikovsky... A correspondence began between them, and for many years Grieg shared with him his creative plans and personal experiences.
• Grieg's visit to Russia did not take place due to Edward's illness and Russo-Japanese War, in the conditions of which he considered it inappropriate to come to visit his friend Tchaikovsky.
• Heinrich Ibsen himself asked Grieg to compose the music for his play Peer Gynt, writing a letter to the composer in early 1874. Ibsen promised him to divide the proceeds in half, as between equivalent co-authors. This is precisely the great importance the playwright attached to music.
• At one of his concerts in Christiania, Grieg, without warning, replaced the last number with a Beethoven composition. The next day, a critic who disliked Grieg published a devastating review, especially noting the mediocrity last piece... Edward was not taken aback, called this critic, and said that he is the spirit of Beethoven, and that he is the author of that very work. The critic had a heart attack.

• The King of Norway was an admirer of Grieg's talent, and gave the order to present him with one honorary order. Edward, finding nothing better, put the medal in the back pocket of his tailcoat. The king was told that Grieg treated his award in a very indecent way, to which the monarch was seriously offended.
• Edvard Grieg and Nina Hagerup are buried in the same grave. Despite the difficulties in life together, they still managed to remain the closest people to each other.

Grieg's works are of great importance both for world music history and for the national culture of Norway. In fact, he became the first Norwegian composer to win world fame, besides, they advanced the Scandinavian folk motives to a new level.

In 1889, Grieg took the most daring step to propel Norway to the musical Olympus of those years. He organized the first folk music festival in his hometown of Bergen, inviting the famous orchestra from Holland. The event was attended by many world famous musical figures. Thanks to the festival, the world learned about the existence of a small Norwegian town, some talented composers and performers, and Scandinavian music has finally taken its rightful place.

Edvard Grieg's creative heritage includes more than 600 songs and romances, 20 pieces, symphonies, sonatas and suites for piano, violin, cello. For many years he went to write his own opera, but the circumstances were constantly not in his favor. Thanks to these attempts, the world of music has been replenished with several equally significant works.

The story of one masterpiece - "Peer Gynt"

You can hardly meet a person who has never heard the most tender sounds of the play "Morning" from Grieg's suite " Peer Gynt"Or an insinuating procession of the mysterious inhabitants of the Mountain King's Cave. This is not surprising, because this work has long won incredible popularity and love of the public. Filmmakers often refer to this masterpiece, including it in their films. Moreover, in every school, music circle, school of development, children are sure to get acquainted with the bright and unusually expressive pieces that are included in the suite.

"Peer Gynt" was written based on the philosophical play of the same name by Henrik Ibsen. The main character works are a dreamer and dreamer who chose to travel, wandering aimlessly across the earth. Thus, the hero prefers to avoid all the complexities of life. While working on his play, Ibsen turned to Norwegian folklore, and the name of the main character and some dramatic lines, he borrowed from “ Folk tales" and " Fairy tales"Asbjornson. The play is set in the distant mountains of Norway, the mysterious cave of Dovr's grandfather, in the sea, and also in the sands of Egypt. It is noteworthy that Ibsen himself turned to Edward Grieg with a request to write music for the drama. The composer immediately undertook to carry out the order, but it turned out to be rather difficult and the composition progressed slowly. Grieg succeeded in completing the score in the spring of 1875 in Leipzig. The premiere of the play, already with the music of the composer, was performed with great success in Christiania in February 1876. A little later, Grieg re-arranged the play for its staging in Copenhagen in 1886. A little later, the composer again turned to this work and composed two suites, which included four numbers from twenty-three written by him. Very soon these suites conquered the audience and took a firm place in many concert programs.

Edvard Grieg devoted his entire life and work to his beloved homeland. Even love relationship did not become more important for him a great cause - the glorification of Norway and its cultural traditions. However, his incredible talent did not leave indifferent representatives of other nationalities, and to this day he continues to touch hearts with his enchanting sound, evoke warmth and excitement. There were no high-profile novels in his life, he did not boast of his success, although he was incredibly happy with the large number of invitations and offers. And yet his life is not a "vanity fair", but boundless service to his homeland.

Video: watching a film about Edvard Grieg

Introduction

1 Creativity of Edward Grieg

2 Features of Grieg's music

Conclusion

So, the purpose of this work is to consider the work of Edvard Grieg and define him as the founder of the Norwegian classics. To do this, you need to solve the following issues:

1. Creativity of Edvard Grieg

2. Features of Grieg's music

3. Edvard Grieg as the founder of the Norwegian classics.

1 Creativity of Edward Grieg

Edward Hagerup Grieg was born in June 1843. His ancestors were Scots (by the name of Greig - famous Russian admirals S.K. and A.S. Greigy - also belonged to this family). The family was musical. Mother, a good pianist, taught the children music herself.

Bergen, where Grieg was born, was famous for its national traditions, especially in the field of theater; here Henryk Ibsen and Björnstierne Björsnon began their activities; here Ole Bull was born, it was he who first drew attention to the gifted boy (Grieg is already composing at the age of 12), and advises his parents to send him to the Leipzig Conservatory.

Grieg later recalled without pleasure the years of conservative education - the conservatism of his teachers, their isolation from life. However, his stay there gave him a lot: the level of musical life was quite high, and outside the conservatory, Grieg became familiar with the music of contemporary composers, especially Schumann and Chopin fell in love with him.

Grieg's creative research was warmly supported by Ole Bull - during his joint travels in Norway, he devoted his young friend to the secrets of folk art. And soon the individual features of Grieg's style were clearly manifested. No wonder they say - if you want to join the folklore of Norway - listen to Grieg.

More and more he improved his talent in Christiania (now Oslo). Here he writes a huge number of his most famous works. It was here that his famous Second Violin Sonata, one of his favorite works, was born. But Grieg's work and his life in Christiania were full of struggle for the recognition of the folk color of Norwegian art in music, he had many enemies, opponents of such innovations in music. Therefore, he especially remembered the friendly power that Liszt had shown him. By that time, having taken the dignity of abbot, List lived in Rome and did not personally know Grieg. But, having heard the first violin sonata, I was delighted with the freshness and extraordinary color of the music, and sent an enthusiastic letter to the author. He told him: "Keep up the good work ... - and do not let yourself be intimidated! ..." This letter played a big role in the biography of Grieg: the moral support of Liszt strengthened the national origin in Edward's musical work.

And soon Grieg leaves Christiania and settles in his native Bergen. The next, last, long period of his life begins, marked by great creative successes, public recognition at home and abroad.

This period of his life opens with the creation of music for Ibsen's play "Peer Gynt". It was this music that made the name of Grieg famous in Europe. All his life, Grieg dreamed of creating a national opera, which would use the images of folk historical legends and the heroic of the sagas. In this he was helped by communication with Bjurston, with his work (by the way, many works by Grieg were written on his texts).

Grieg's music is gaining great popularity, penetrating the concert stage and home life. The feeling of deep sympathy evokes the appearance of Edvard Grieg as a person and an artist. Responsive and gentle in dealing with people, in his work he was distinguished by honesty and integrity. The interests of his native people were above all for him. That is why Grieg acted as one of the greatest realistic painters of his time. In recognition of his artistic merit, Grieg was elected a member of a number of academies in Sweden, Holland and other countries.

Over time, Grieg increasingly eschewed the noisy metropolitan life. In connection with his touring tours, he has to visit Berlin, Vienna, Paris, London, Prague, Warsaw, while in Norway he lives in seclusion, mainly outside the city, first in Lufthus, then near Bergen in his estate called Toldhaugen, that is, "Hill trolls ", and devotes most of his time to creativity.

And yet he does not give up his musical and social work. In the summer of 1898, he organizes the first Norwegian music festival in Bergen., where all the major musical figures of that time gathered. The outstanding success of the Bergen festival attracted everyone's attention to Grieg's homeland. Norway could now consider itself an equal participant in the musical life of Europe!

On June 15, 1903, Grieg celebrated his sixtieth birthday. From all parts of the world, he received about five hundred congratulatory telegrams (!). The composer could be proud: it means that his life was not in vain, it means that he brought people joy with his work.

2 Features of Grieg's music

In the music of Grieg, the enchanting beauty of the Norwegian nature sounds, sometimes majestic, sometimes modest. The simplicity of musical expression and, at the same time, its originality, national flavor, uniqueness of images captivate the listener. “No wonder, - wrote PI Tchaikovsky, that everyone loves Grieg, that he is popular everywhere! ..” Like Glinka in Russia, Grieg was the founder of the Norwegian musical classics.

Grieg's career coincided with the heyday of the Norwegian culture, with the growth of its national identity, with the process of the formation of the national school of composition. In the history of musical cultures in northern Europe, it began somewhat later. With his work, Grieg influenced not only the composers of the Scandinavian countries, but also European music in general.

Edvard Grieg was born on June 15, 1843 in the city of Bergen, which has long been famous for its national artistic traditions. The greatest Norwegian playwrights created their beautiful creations here: G. Ibsen and B. Björnson, here lived the famous violinist Ole Bull, nicknamed “Paganini of the North”, who was the first to see Grieg's outstanding musical abilities and later, during joint travels across Norway, introduced the young man with the wealth of folk art.

Grieg's mother, a good pianist, taught her children music from childhood. Both Edward and his older brother John graduated from the Leipzig Conservatory. Then improving his composing skills in the musical center of Scandinavia - Copenhagen, Edvard Grieg made friends with the young patriotic composer Richard Nurdrok, the author of the music of the national anthem of Norway. This friendship finally determined the ideological and artistic aspirations of Edward, who decided to devote all his efforts to the development of Norwegian music.

Upon returning to his homeland, Grieg lives in the capital of Norway - Christiania (now Oslo). He heads the Philharmonic Society, acts as a pianist and composes intensively. The famous piano concerto op. 16, second violin sonata op. 13, vocal and piano miniatures.

Like many romantic composers, Grieg turned to the piano throughout his life, capturing personal life impressions in piano miniatures, like a diary. Grieg considered himself to be Schumann's school and, like Schumann, appears in piano music as a storyteller-short story. He created about 150 piano pieces, of which 70 are collected in ten “Lyric notebooks”.

Two main figurative spheres dominate in Grieg's music. The first continues the tradition of “home music”. These are mostly lyrical statements. Another sphere of images is associated with folk songwriting and dance, with the genre specificity of dance improvisations by folk violinists. Grieg reflected in his music the enthusiasm of the rapid pair jumping springar dance, the youthful spirit of the male solo dance “halling” (dance of “youth”), the character of the solemn procession dance “gangar”, without which village weddings cannot do.

On the basis of rhythm-intonations characteristic of these and other folk dances, Grieg created musical scenes from folk life (the play "Wedding Day in Troll Haugen", op. 19). Bizarre imagery of Norwegian folk fiction; gnomes, trolls, etc. found an original embodiment in famous piano pieces (“Procession of the Gnomes”, “In the Cave of the Mountain King”, “Kobold”, etc.). Romantic national imagery and the peculiarities of Norwegian folk melody determined the originality of Grieg's musical style.

In 1874, Ibsen, one of the most talented writers in Norway, invited Grieg to write music for the production of his drama Peer Gynt. Grieg got carried away with work and created wonderful music that became independent artwork(like Bizet's "Arlesienne" or Mendelssohn's "A Midsummer Night's Dream"). The drama was staged with great success.

Ibsen's work, saturated with social and philosophical generalizations, contributed to the creation of deeply meaningful music and the musical disclosure of the sublime lyricism of the main image of the devotedly loving Solveig in Grieg's work, who does not get tired long years wait for his Peer Gynt, a dreamer and dreamer who has not found himself in life. After wandering in foreign countries, having wasted his mental strength, he is already an old man returning to Solveig.

Ibsen dedicated the most poetic pages of his drama to the image of Solveig, foreseeing the role of music in creating this image. Grieg, with great artistic flair, conveyed the essence of the Solveig image, spiritual purity and strength of mind. Her song is woven from the characteristic lyrical intonations of Norwegian folk songs. The wonderful play of the piano introduction is close to the brooding beats of the horn and creates the image of a lonely forest hut in the mountains, where Pera Solveig patiently waits.

The flowing melody of Solveig's song is modest and at the same time dignified. A light, gentle dance chorus conveys the light of youth that has been preserved in the heroine's soul.

Grieg, whose individuality of musical style is generally determined by the connection with Norwegian folk music, brought Ibsen's play closer to the folk-poetic style with his music. The composer’s words that Ibsen’s “Peer Gynt” is “as national as it is genius and deep” can be applied to his music as well.

The national origin was clearly manifested in his excellent compositions of vocal lyrics. Grieg published one hundred twenty-five songs and romances. Grieg's attraction to vocal lyrics is associated with the flourishing of Scandinavian poetry, with the works of Ibsen, Bjornson, Andersen. He addresses mainly the poets of Denmark and Norway. Grieg's vocal music splendidly presents poetic pictures of nature, images of “forest romance”. The subject matter of his songs is rich, but with all the thematic diversity, Grieg's music retains a single attitude: the cordiality and spontaneity of emotional expression is an important property of his vocal compositions.

V last years life of the composer, his music gained worldwide fame. Grieg's works are published by large publishers, performed on stage and at home. Grieg, in recognition of his artistic merit, was elected a member of the Swedish, French, Leiden (in Holland) academies, doctor of the University of Oxford.

Grieg's music is immediately recognizable. Its special expressiveness and memorability are associated with the bright song richness of Norway, which had hardly been revealed before. Sincerely, with great warmth, Grieg told the world about his fabulous country. This touching sincerity and sincerity excites and makes his music close and understandable to everyone.

3 Edvard Grieg as the founder of the Norwegian classics

In the second half of the XIX century. in foreign musical art, realism was established. The desire for democratization has intensified musical art... Composers increasingly began to boldly turn to everyday subjects and stories from the life of the working people.

The best realistic aspirations of French music were reflected by the French composer Georges Wiese (1838 - 1875). Wiese's short life (only 37 years old) was filled with intense creative work... He joined the world of music since childhood.

Wiese's talent manifested itself in various areas of musical creativity. Among his works - Symphony, 3 operettas, several cantatas and overtures, piano pieces, romances, songs. However, opera took the main place in his legacy. Already in one of the most significant works - the opera "The Seekers of the Zhumchug" - the main features of his operatic style are clearly outlined: bright melody, colorful folk scenes, the brilliance of the orchestra.

The original talent of Wiese was shown with particular force in his brilliant opera Carmen (based on the novel by P. Merimee). Relying on best achievements opera, Wiese created a genre of realistic musical drama in Carmen. Opera music introduces the listener to the world strong feelings and passions, captures the truthfulness of the portrayal of characters and the rapid development of action. She sensitively reflects the dynamics and all the complexity of the relationship between the main characters - the wayward gypsy Carmen and Jose. The highest achievement in the opera was the image of Carmen. A similar heroine is an opera of the 19th century. I didn't know yet. This image was created by the composer on the basis of Spanish and Gypsy folk songs, incendiary rhythms characteristic of the music of these peoples. Vivid and psychologically correct portrayal of Carmen's character at times reaches truly tragic greatness. "

The role of Jose is dominated by "romance melodies close to the Italian opera style. No less vivid is the image of the bullfighter Escamillo, outlined with literally a few strokes.

The drama of the heroes proceeds against the background of various pictures of folk life. In the choral scenes of the opera, Wiese departs from the usual interpretation of the people as a continuous mass. It's in full swing here real life, -s"with her colorfulness and temperament. The composer skillfully combines folk paintings. with the personal drama of the heroes.

The huge popularity of the opera is explained not only by the ingenious music, but also by Wiese's truly innovative approach to showing on the opera stage. ordinary people, their feelings, experiences, passions.

At its premiere on March 3, 1875, the opera failed, but within 10 months it was successful. P.I. Tchaikovsky, having become acquainted with Wiese's masterpiece in 1876, wrote prophetically: "In 10 years, Carmen will be the most popular opera in the world." Carmen is considered the pinnacle of French realistic opera, one of the masterpieces of world opera classics.

The outstanding composer, pianist, conductor Edvard Grieg (1843-1907) is considered the founder of the Norwegian classical music. All his works are imbued with national Norwegian intonations; they vividly reflect the life of the native country, its nature and way of life. The enchanting beauty of Norwegian nature sounds either majestic or modest.

Grieg's career coincided with the heyday of the Norwegian culture, with the growth of its national identity, with the process of the formation of the national school of composition. Grieg created about 150 piano pieces. He turned to the piano throughout his life.

In 1874, Ibsen, one of the most talented writers in Norway, invited Grieg to write music for the production of his drama Peer Gynt. Grieg was carried away by "work and created wonderful music, which became an independent work of art. Music for the drama" Peer Gynt "brought world recognition to E. Grieg. instinctively conveyed the essence of Solveig's image - spiritual purity.The national origin was clearly manifested in the excellent compositions of Grieg's vocal lyrics.

In the last years of the composer's life, his music gained worldwide fame. Grieg's music is immediately recognizable. Its special expressiveness and memorability are associated with the vibrant song richness of Norway. With great warmth, Grieg told the world about his fabulous country.

Like Glinka in Russia, Grieg was the founder of the Norwegian classical music.

Conclusion

So, we examined the work of the Norwegian composer Edvard Grieg and identified him as the founder of the Norwegian classical music... Now we can draw conclusions.

The work of Grieg, the most prominent representative of the Norwegian school of composition, which has absorbed the influence of German romanticism, is deeply national.

Mainly a miniaturist, Grieg proved himself to be a master of the piano (Lyric Pieces and other cycles) and chamber vocal music. Brightly individual style Grieg, a subtle colorist, is in many ways close to musical impressionism. Treating the sonata form in a new way, as a "pictorial alternation of images" (B.V. Asafiev) (strings, quartet, 3 sonatas for violin and piano, sonata for cello and piano, sonata for piano), Grieg dramatized and symphonized the form of variations ( "Old Norwegian Romance with Variations" for orchestra, "Ballad" for piano, etc.). A number of works have embodied the images of folk legends and legends (parts from the music for the play by Peer Gynt, the piano pieces "Procession of the Dwarfs", "Kobold").

Processed Norwegian folk tunes. Under the influence of Norwegian folklore, stylistic techniques and peculiarities of harmony and rhythm, characteristic of Grieg, developed (the wide use of Lydian and Dorian modes, organ points, folk dance rhythms, etc.).

Bibliography

1. Asafiev B. Grig. M .: Music, 2006.- 88s.
2. Great Soviet Encyclopedia (Chief editor A. Prokhorov). - M: Soviet Encyclopedia, 1977.
3. Grieg E. To the girl from the mountains. Cycle of songs [notes] .- M .: Music, 1960.- 17s.
4. Grieg E. Sunset. A cycle of songs [notes] .- M .: Music, 1960.- 20s.
5. Grieg E. Selected Lyric Pieces [notes] .- M .: Sov Composer, 2007.- 48p.
6. Grieg E. Concerto (in A minor) for piano and orchestra.- SPb .: Composer, 2006.- 51p.
7. Grieg E. Leaf from the album.- K .: Muz. Ukraine, 1971.- 48p.
8. Grieg E. Norwegian dance.- M .: Muzgiz, 1963.- 15s.
9. Grieg E. Peer Gynt Two Sonatas for Piano.- SPb .: Composer, 2007.- 47 p.
10. Gurevich E.L. History foreign music... Popular lectures.- M .: Publishing Center "Academy", 2004.- 320s.
11. Druskin M. History of Foreign Music: Tutorial- M .: Music, 2008.- 530s.

For choir, soloists and orchestra:

• Bergliot (c l. B. Bjornson a, op. 42.1871; 2nd ed., 1885),
• At the gates of the monastery (Foran Sydens Kloster , from the poem by Bjornsoia, op. twenty, 1870-71 ),
• Homecoming ( Land Kjennmg, sl. Björn sona, op. 31, 1872; 2nd ed., 1881),
• Captured by the mountains (Lonely, DenBcrgtekne, op. 32, 1878).

For orchestra:

symphony in c - moll, (1863-64),

to onc Awful Overture - Autumn ( Host, op. eighteen, № 4, 1866 (listen); reorchestrated in 1888, there is an arrangement for piano in 4 arms),

Peer Gynt (1st Suite from the music for the drama G ... Ibsen, op. 4 li, 1888: Morning, Death of the Wasp, Dance of Anitra, In the cave of the mountain ko role; 2nd suite, op. 55, 1896: Abduction Brides - ComplaintIngrid, Arabic dance, Stormy evening on the shore, Song of Saltweig; both suites are arranged for piano in 2 and 4 hands),

Sigurd the Crusader ( Sigurd Yorsalfar, suite to the drama Bjornso on , op. 56, 1892: At the Royal Castle, Worghild's Dream, Solemn March; shifted for piano 2 and 4 hands),

Symphonic dances on Norwegian themes ( op ... 04, 1898, arranged for piano 4 hands),

Lyric suite,

Bell ringing(Klokkeklang, arranged piano pieces, op. 54, 1904).

For string orchestra:

2 elegiac melodies (on the theme of songs on sl. O. Vigne, op. 33, op. 34, 1883),

From Holberg's times ( Fra Hol bergs Tid, arranged of the same name. suites for piano, op. 40, 1884- 1885),

2 melodies (on themes of own songs, op. 53, 1890 )

2 holes Vezha melodies (on the themes of pl. songs from collection, op. 17, op. 63, 1894-95, arranged for piano four hands),

2 pieces (Evening in mountains, lullaby, op ... 68, 1898, transcription of piano pieces no. 4 and no. 5from the 9th notebook of Lyric Pieces, op. 68).

Concerts with an orchestra:

for piano (a - moll, op ... 16, 1868 (listen "Allergo molto moderato", listen"Adagio - attacca", listen" Allegro moderato molto e marcato "); h - moll, 1882, a sketch of the 1st part has been preserved)

Chamber instrumental ensembles :

Andante con moto for violin, cello and piano (1878),

strings n. quartets ( d - moll, 1861, not preserved; g - moll, op. 27, 1877-78; F - dur, without op., 1891, unfinished),

piano quintet(1836, outline)

D for piano in two hands:

Variations on it. melody(1854, the manuscript has not survived),

23 little pieces (1859),

9 pieces for children (eachpriest Fraulein L. Reis, 1859),

3 pieces ( pos in . Teresa Berg, 186 0 ),

4 pieces (op. 1, 1861-62),

6 poetic muses. pictures(Poetiske Toncbilleder, op. 3, 1863),

4 humoresques (op. 6, 1865), sonata (op. 7, 1865),

Funeral march in memory of Ricard Nurdrok (without the Op., 1861 ), there is an arrangement for the military. orc.),

NO 25 songs and dances (Norske Folkeviser og Dandse , on melodies from Sat. L. M.pdemana, op. 17, 1870),

From the life of the people ( Folkelivsbilleder, op. 19, 1872),

Ballad in the form of variations on Norwegian bunks. melodies (Ballade i form at variasjoner over en norsk folkevise, op. 24, 1875),

6 Norwegian Mountain Melodies ( Sex norske field - melodier, no op., Approx. 1875),

4 album leaves ( op. 28, No. 1, 1864; No. 2, 1874; No. 3, 1876; No. 4 (listen), 1878),

Improvisation on the burrowVezhsky bunks. songs ( improvisata over norske folkeviser, op. 29, 1878),

From Holberg's times ( Fra Holberg S Tid, op. 40, 1884; arranged for strings, orc., 1885),

transcriptions of own. songs(op. 41, 1885 and op. 52, 1891)

19 until now neop ubl. Norwegian folk songs arranged for piano, op. 6 (5,1896), Slots.

17 Norwegian peasants dances for violin solo, they are performed on bunk. instrument "fele", recording IO. Halvorsen,

arr. for piano ( Slat ter. 17 norske Bondedanse for Violinsolo slik som de spilles pa Fele, op. 72, 1901-02),

Moods (Stemninger, 7 pieces, op. 73, 1905),

3 pieces (without op .: B dance, Dansen gar and Dance of the Dwarfs, Tusseslat , 1898; White clouds - Hvide skyer, no op.; 1891; publ. 1908)

Lyric pieces:

(Lyriske Stykker, 10 notebooks, 66 pieces:

I - op. 12 (listen"Dance of the Elves" , no.4), 1867;

II - Op. 38 (listen" Berceuse " , no.1 , listen"Folk Song", no.2,listen"Spring Dance", no.5) , 1883;

III - op. 43(listen " Papillons ", no.1, listen "Little Bird", no.4), 1886;

IV - op. 47 (listen " Spring Dance ") , 1887;

V - op. 54 (listen "Shepherd Boy", no.1) , 1891, № 3 - Procession of the Dwarfs(listen), Troldtog, No. 4 - Nocturne;

VI - op. 57, 1893;

VII - op. B 2, 1894-95;

VIII - op. 65, 1896, no. 6 - Wedding day in Trollhaugen, Bryllupsdag pa Troldhaugen,

IX - op. 68- ( listen"Cradle Song"), no.5, 1895;

X - op. 71,1901).

For piano four hands:

2 symph. plays (arrangement 2 movements of a symphony in c - moll, op. 14, 1864),

Norwegian dances(op. 35, 1881; transcription for piano two hands, 1881),

Waltzes Caprice (op. 37, 1883; arranged for piano two hands, 1883).

For 2 pianos :

Old Norse romance with variations ( Garameinorsk melodic med variasjoner, op ... 51, 1891, arranged for orc., 1904),

2nd piano part to 4 sonatas by V.A. Mozart, no op., 1876 - 79).

For violin and piano :

3 sonatas (F major, op. 8, 1865; G major, op. 13, 1867; c minor, op. 45, 1886-87)

Ha here (1867)

D la v cello and piano:

sonata (a - moll, op. 36, 1882-1883)

For choir acappela :

4 songs, by from in. Student chorus. ob-woo in Copenhagen (1863, unpublished)

Evening mood(dedicated to Norwegian student ... chorus. ob-woo and his hands. J. D. Beren su, sl. Yu My, 1867)

The sailor's song (Norwegian sailor, lyrics. Viernson, no op., 1868)

At Welhaven's coffin (lyrics by Yu. My, no op., 1873)

Cantata for the opening of the monument X. Hjerulf at Christiania (words by A. Munch, 1874)

Song of the northern fighters for freedom (words by Bjornson, 1874, unpublished)

Two songs on the next W. Lufthusa (without op., 1881)

Greetings from singers pa with l. Scave lanna (for the holiday songs in Trondheim, no op., 1883)

Cantata for the opening of the monument X. Holberg in Bergen ( with l. Rolfsen, without op., 1884)

Song of our banner (with L. Bjornson, 1893)

Two songs ( with l. J. Dahl, 1896)

Greetings from the singers of Christiania(to lyrics by I. Lee, no op., 1896), Ave Maria Stella (no op., 1898)

Ole Bullu ( with l. J.S. Welhaven, 1901)

About 150 songs, romances and songs cycles on fishing Norwegian, Danish and German poets, including fishing X... K. Andersen- 15 (op. 5, 1864; without op., 1865; op. 15, 1870; op. 18, 1865-69),

I. Paupsen- 16 (op. 26, 187 (5; op. 58, cycle Norway - Norge; op. 59, 1893-94),

O. Bignet- 15 (op. 33, 1873-80; without op., 1880),

B. Bjornson - 10 (without op. 1867, 1871, 1873; op. 18, 1868; op. 21, 1870-72; op. 39, 1869-84),

G ... Ibsen- 7 (op. 15, 1868; op. 25, 187Y),

X... Drahmana- 12 (cycle "On rocks and fjords" - Fra Field og Fjord, op. 44, 1886; op. 49, 1886-89),

O. Benzona- 10 ( op. 69, op. 70, 1900),

A. Garborga- 8 (cycle Girl from the mountains - Haug - tussa, op. 67, 1896-98),

G ... Heine- 7 ( op. 2, 1861; op. 4, 1863-64; op. 39, 1869-84; op. 48, 1889),

V. Krag- 5 (op. 60, 1894),

P... Chamisso- 4 (op. 2, 1861; op. 4, 1863-64),

A. Munch- 4 (op. 9, 1863-65),

K. Winter - 4 ( op. 10, before 1862),

n a with fishing frombooks to read N. Rolfsen-7 children's songs (op. 61, 1894);

on with l. I. V. Goethe, I. L. Uhland, K. Rnkardt, F. M. Bo deishedt and etc.

Music for performances drama theater :

Sigurd the Crusader ( Sigurd Jorsalfar to the drama Björn sona, 5 numbers, op. 22, 1872),

Olaf Trygvasop (3 scenes fromunfinished. opera on text Bjornson, op. 50, 1873; 2nd ed. 1883; conc. isp. under control G riga,1889, Christiania; spenich. fast. 1908, Nat. tr, Kpnstiania),

Peer Gynt ( music to the poem by G. Ibsen, o p. 23 number, 1874-75, arranged as 2 suites forsymph. orc., as well as for piano 2 and 4 hands).

Literary compositions and letters:

Selected articles and letters,