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an irresistible pull, by using music, to express a deeply poetical flow from nature of emotions and moods ... how unfalteringly stimulating, new, original! With this setting of dances Grieg depicts the values of human fellowship.
Elgars Nimrod variation is a reference by way of a biblical play-on-words to Elgars friend, Augustus Jaeger, who saw the composer through dark moments of his life. This movement is a musical painting of one of those moments, when Jaeger convinced Elgar to press on.
Once more, we encounter Grieg embracing nationalism, basing his musical language on Norwegian melodies and rhythms whilst increasingly adopting French influences harmonically. The four movements of the cycle are cast in a simple, tripartite
cross-section of Grieg‘s songs that stand in contradistinction to the works of his contemporaries in the degree to which they employ, among other elements, chromatic juxtapositioning within an expressive landscape marked by death and despair.
ways of thinking about Grieg’s creative response to landscape and environment, and raises pressing questions of musical subjectivity. Grieg’s attempt to deflect critical attention from his work should only encourage a tighter, more attentive reading, one that is carefully attuned to what might be called the Stemninger’s
Edvard Grieg is the founding father of Norwegian music working on the edge of the mainstream Austro-German tradition. It is believed that though Grieg's treatment of folk material is acknowledged as innovative, his arrangements of Hardanger
Grieg’s music char-acteristically signals its strangeness even amidst the most apparently familiar and conventional musical terrain. Hedda Høgåsen-Hallesby has responded to this disturbing sense of the unfa-miliar by arguing for a more nuanced response to the idea of place in Grieg’s score.
