Edvard Grieg (1843-1907)
Nationality:
Norwegian
Born: January 15, 1843, Bergen Died: September 4, 1907, Bergen (age 64)
Holberg Suite, Op. 40
(for string orchestra)
| 2:43 | I. | Praeludium. Allegro vivace | |
| 3:34 | II. | Sarabande. Andante espressivo | |
| 3:33 | III. | Gavotte. Allegretto - Musette. Un poco più mosso | |
| 6:05 | IV. | Air. Andante religioso | |
| 4:11 | V. | Rigaudon. Allegro con brio - Trio |
Duration: 20 minutes (approximately)
Composed:
1884 (age 40-41)
Commission: For a commemoration of the 200th anniversary of Ludwig Holberg's birth
Dedication: Erika Lie-Nissen
Note: More properly, "Suite From Holberg's Time". Originally for piano; transcribed for string orchestra by Grieg. Often played at chamber music festivals and special events.
1 recording,
5 videos
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autoplay
2:39
Moscow Soloists
I.
Praeludium. Allegro vivace
3:29
Moscow Soloists
II.
Sarabande. Andante espressivo
3:31
Moscow Soloists
III.
Gavotte. Allegretto - Musette. Un poco più mosso
5:23
Moscow Soloists
IV.
Air. Andante religioso
4:18
Moscow Soloists
V.
Rigaudon. Allegro con brio - Trio
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glossary
- Air [Fr], Air [E], Ayre [E], Aire, Aria [I]—Song. Traditionally indicates a piece of melodic or vocal nature as opposed to one of dance-like character (i.e. in form or rhythm). An aria typically refers to a formalized song within an opera context for one or more voice
- allegretto—moderately quick tempo. slower than allegro but faster than andante
- allegro [I]—fast, lively tempo. From the Italian word for cheerful or gay.
- andante [I]—moderately slow tempo (e.g. walking). Faster than adagio but slower than allegretto
- brio [I], con brio, brioso—vigor, vigorously, with fire
- chamber music, Kammermusik [G], musique de chambre [F], musica da camera [I], musica cameralis [L]—"Classical Music" for a small ensemble, generally 8 or fewer players with a canonical emphasis on 3-6 players. explore
- con [I,S]—with
- espressivo [It], con espressione, expressif [Fr]—expressive, with expression.with feeling
- gavotte, gavotta—Originally a French folk dance that became a courtly dance with Louis XIV and subsequently used in Baroque suites. Moderate tempo in duple rhythm often beginning on an upbeat in a pick-up measure.
- mosso—moved, with motion, stirred, agitated
- musette, muzette—an air or dance with drones in imitation of the sound of the bagpipe typically evoking a pastoral setting
- opus [L], opera[pl], Op., Opp, WoO, Op. posth—work, as in a work of art. For unique identification, publishers/composers often assign an "opus number", abbreviated as "Op." (e.g. Op. 1). A range of works by opus number, uses the plural "opp." (e.g. "Opp. 1-3"). A single opus number may refer to a collection of works (e.g. a set of quartets) giving rise to designations like "Op. 1, No. 4". For misc. works without opus numbers, "WoO" is often used (e.g."Without Opus"). Posthumously assigned numbers may use "Op. posth". Opus numbers may not precisely reflect chronology (publication vs. composition), can be erroneous, sparse or duplicative. Thus, the works of some historically important composers may use separate catalog numbers (e.g. Bach, Haydn, Schubert). See wiki
- più—more
- poco, un poco, poco a poco—a little bit, e.g. "andante un poco moto" is andante with a little more motion than typical. "poco a poco" means a little bit at a time, gradually.
- prelude, prélude, präludium [G], präludien [G, pl], praeludium, preludio—a movement preceding another almost by way of introduction: to let listeners and players acclimate, often to prepare for greater demands ahead
- religioso [I]—Religiously
- Rigaudon, Rigadoon—Lively duple-meter dance derived from a 17th French folk and courtly dance that made its way into Baroque instrumental suites along with the Bourrée, etc.
- sarabande, saraband, sarabanda—A Spanish Renaissance / Baroque dance in triple meter. In France and Germany, it tended to be slow and stately.
- suite—a set of instrumental pieces (movements) played together to create a larger whole. Suites tend towards collections of dances, frequently in the same key, preceded by a prelude, introduction or overture.
- trio (2)—The middle section of three-part (ternary) forms such as the minuet and scherzo yielding the structure: Minuet - Trio - Minuet (repeat). The trio often brings contrast by change of key, tempo, mood or texture i.e. a shift in instrumental scoring.
- vivace—brisk, lively tempo faster than allegro