Grieg - Peer Gynt, Norwegian Dances, Holberg Suite (reference recording : Fernando Rossano)

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Edvard Hagerup Grieg (1843-1907) - Piano Transcription

Peer Gynt Suite No. 1, Op. 46 (Rielaborazione Di Fernando Rossano)
I.Mattino, Allegretto Pastorale (00:00)
II.Morte Di Ase, Andante Doloroso (04:21)
III.Danza Di Anitra. Tempo Di Mazurka (09:49)
IV. Nell'antro Del Re Della Montagna, Alla Marcia E Molto Marcato (13:30)

Peer Gynt Suite No. 2, Op. 55
I.Ratto Della Sposa-Lamento Di Ingrid, Allegro Furioso, Andante,
Andante Doloroso, Allegro, Andante, Allegro, Andante (16:18)
II.Danza Araba, Allegro Vivace (20:58)
III.Ritorno Di Peer Gynt, Allegro Molto Agitato. Temporal Sul Mare (25:39)
IV.Canzone Di Solveig, Andante, Allegro Tranquillamente (28:34)

Holberg-suite, Op. 40
I.Praeludium, Allegro vivace (34:22)
II.Sarabande, Andante, espressivo (37:16)
III.Gavotte, Allegretto (41:55)
IV.Air, Andante religioso (45:25)
IV.Rigaudon, Allegro con brio (51:31)

Danze Norvegesi, Op. 35
I.Allegro marcato (55:23)
II.Allegretto tranquilo e grazioso (1:01:30)
III.Allegro moderato alla marcia, Tranquillo, A tempo (1:03:59)
IV.Allegro molto, più vivo, Presto con brio, Poco mosso e tranquillamente,
a tempo, Presto e con brio, Prestissimo (1:07:08)

Piano : Fernando Rossano
Stéréo recording in 2001, at Italy
Label : Phoenix Classics

Grieg always insisted, not without a grain of pride, that be had received a musical education which was profoundly mitteleuropean (‘’I studied in Leipzig and am entirely German’’). It has to be said, however, that eve, the grand German romantic musical tradition was not acquired by the young student in the ‘classical sens’. It was not that extended and elaborated musical form of composition understood as the supreme art of ‘’thematic development’’ which started with J.S. Bach and culminated in Beethoven, Schumann, Wagner and Brahms. a part from a very few works this concept was almost entirely foreign to Grieg. It was perhaps in his mastery of harmonic language and in refined instrumental writing that Grieg was able to find a personal way of reinterpreting a tradition for which he had an immense admiration.

With great skill he was able to infuse this tradition into music which appeared superficially simple. his main problem when confronted with the grand form (fully, overcome in the Concerto for Piano and the Sonata Op.7) is due therefore not to a lack of skill but to a precise awareness : that a forced confrontation with the great instrumental, symphonic and chamber tradition would probably have distanced him from that research of the popular and national roots which were at the basis of all his art.