Norwegische Taenze (Norwegian dances) Op.35 No. 2 Sheet Music
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Holje Dale, Halling, Srebygga, Cattle Cali, Bridal Song, Mountain Song, 2. The Bridal Procession Passes, 3. Cattle Cali, 2. It Is The Greatest Folly, 3. The Song Of Siri Dale, 5. It Was In My Youth, 6. Cali And Cradle Song, 7. LulIaby, 8. Cattle Cali, 9. A Little Friend, Tomorrow You Will Marry Her, There Stand Two Girls, Ranveig, A Little Gray Man, LulIaby, IWander Deep In Thought.
Grieg 4 Norwegian Dances, Op. 35
Gjendine's LulIaby Slatter, Op. Giboen's Wedding March, 2. Jon Vrestafre's Jump Dance, 3. Wedding March From Telemark, 4. Halling From The Hill, 5. Rotmansknut Halling. The "Miller Man's" Wedding March, 9. Nils Rekve's Halling, Knut Lurasen's Halling No. Springdans, The Bride Ot Skuldal, Praeludium, II. Sarabande, III. Gavotte, IV. Air, V. Rigaudon Moods, Op. Resignation, II. Scherzo-Impromptu, III. Study Hommage a Chopin, VI. Student Serenade, VII. Grieg , Op. Little Haakon from: Op. She Is So White trom: Op.
Grieg I. Morning Mood, II. Ase's Death, III.
Anitra's Dance, IV. Ingrid's Lament, II. Arabian Dance. Peer Gynt's Homecoming, IV. Grieg Prelude, Intermezzo Borghild's Dream. Huldigungsmarsch Two Nordic Melodies, Op. Ruthardt after Grieg I.
Arabian Dance, III. Solvejg's Song Wedding Day at Troldhaugen arr. E Major, 2. A Minor, 3. Hunting Song in A Major, 4. A Major, 5. Op, 30 1. Eb Major, 2. Bb Minor, 3.
Tannhauser Vocal Score - Books
E Major, 4. B Minor, 5. D Major, 6. C Minor, 3. A Minor, 6. Ab Major, 2. Eb Major, 3. G Minor, 4.
F Major, 5. Folk Song in A Minor, 6. A Major Book V, Op, 62 1. G Major, 2. Bb Major, 3. Funeral March in E Minor, 4. G Major, 5. Venetian Gondola Song in A Minor, 6. F Minor, 3. Bb Major, 4. Spinning Song in C Major, 5. B Minor, 6.
F Major, 2. Eb Major, 4. D Major, 5. A Major, 6.
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E Minor, 2. D Major, 3. C Major, 4. G Minor, 5. A Major Children's Piece , 6. A Minor, 2. E Major, 3. B Minor 7 Characteristic Pieces, Op. Sanft und mit Empfindung, 2. Mit heftiger Bewegung, 3. Kraftig und feurig, 4. Schnell und beweglich, 5. This folklike simple form is especially characteristic and appropriate in the Vinje and Garborg settings, where the texts are modelled after Norwegian folk poetry, and where form is integral to stylistic distinctiveness, to what makes them folksong transmuted into art music. In larger pieces there is often a motivic development mirroring the content of the poem.
Impressions of nature frequently provide an atmospheric background in the songs, as in several of these op. The Haugtussa cycle contains some impressionistic uses of harmony and piano sonority, and these features are even more striking in the op. Grieg was a fine pianist and appeared at his concerts both as soloist and as accompanist to his singers; understandably his large body of piano works occupies a position in his output comparable in importance to that of the songs.
Among them his only completed concerto takes a special place. It is to this proliferation of attractive ideas that the work finally owes its great conviction and popularity. It was composed two years before the quartet in the same key, and is closely akin to the later work in spirit. The theme is announced in a rich chromatic harmonization and is followed by nine distinct character variations, which illuminate various aspects of the folksong while retaining its formal structure.
Variations 10 to 14 are freely based on individual motifs from the theme and are joined to form two dynamic waves; nos. This interrupted climax acts as a dramatic necessity; the concluding reappearance of the first part of the theme in its original form now has the sense of a tragic return to the starting point and gives the whole work a feeling of unresolved struggle. There are indications that Grieg considered the Ballade to be an unusually personal composition; he never played it at his concerts.