Grieger experienced the era of the Norwegian national independence movement in his life and had progressive democratic and patriotic ideas. He followed the path pioneered by Boole, Norak and others and worked hard to study folk music. Collections such as "Norwegian Mountain Folk Tunes" and "Norwegian Folk Ballade Tunes" collected and published by composer L.M. Lindemann became the source of tones for his creations. . In his creative practice, he drew on the musical traditions of various European countries, especially the achievements of the development of romantic music since the 19th century. Through the praise of national history and the artistic feelings of the nature and folk life of his motherland, he created works with Norwegian national characteristics and strong Country music.
His creations are mainly lyrical piano pieces and vocal works (including more than one hundred lyrical solos). For example, the song "From the Motherland" (1894) uses simple folk tunes to express sincere feelings for the motherland. The piano song "Song of the Motherland" (1868) uses the solemn style of ancient Norwegian folk ballads to praise the history of the nation. Glory, the poet Bionzonte paired this song with "Onward!" "This is the Battle Call of Our Ancestors" is a poem that praises the achievements of our ancestors and shouts for the actual struggle for national independence. In the chorus "The Sailor's Song" (1868), "The Homeland is in Sight" (1870) and many national-themed works, they expressed the desire to safeguard national dignity and strive for independence with a distinctive national sentiment, adapting to the historical development of Norway at that time. Trend has certain historical and progressive significance.
Among the themes of Grieg's creations, the most prominent ones are the use of music to express the magnificent and handsome natural features of northern Norway, the folk life in rural mountainous areas and the fantastic images in fairy tales and legends. For example, the piano music "Sketch of Norwegian Folk Life" (1871) and "Norwegian Peasant Dance" (1903), which are based on folk songs and dance music, are especially the piano lyric sketches (***66) that best represent his creative characteristics. First, published in 10 episodes respectively). In these works, through the artistic refinement of folk tones and fine carvings, and through the use of scenery to express emotions, the Norwegian nature, folk life and even the mythical world are depicted into musical watercolor paintings with magnificent colors and simple styles. Among them, it brilliantly reproduces the joyful scenes of Norwegian folk festivals and rural weddings, resounds with the passionate and lively melodies of the typical Norwegian folk dances Harlem and Spring, and artistically simulates the folk fiddler playing in the western fjords. The fifth-degree chords played and the cow-herding songs of mountain herdsmen also vividly depict the fantastic images such as mountain monsters, sylphs, and dwarfs in folk fairy tales. We have gained rich experience in the exploration of national styles (such as the use of folk music, the use of modes, the harmonious configuration of national colors, the specific rhythm and sound patterns of folk dance music, etc.).
In many lyrical songs based on personal spiritual life, Grieg expressed the joys and sorrows of life, praised love, maternal love and friendship, and wrote laments for the "passing days". tune, singing a short sympathetic song for the "lonely tramp". For example, in "I Love You" (1864), "The Cottage" (1869), "Song of the Troubadour" (1876), "Mother's Sorrow" (1868) and other romantic lyrical songs with single images and essays, he Focusing on delicate psychological depiction and unique artistic conception, the writing style is concise and the images are real. It is permeated with strong Norwegian national romantic emotions and has moving artistic charm.
Between 1874 and 1875, Grieg wrote two pieces of music for H. Ibsen's fantasy verse drama "Pierre Gynt". Later, he selected eight pieces and rearranged them into two pieces. This orchestral suite has become a world-famous piece. The original play adopts Norwegian folklore, and through the bizarre adventures of the young farmer Pierre (such as defeating mountain monsters, plundering wealth, traveling in exotic countries, etc.), it mocks the selfish pursuit of power and money and praises a simple and natural life. ideal. Grieg also wrote a series of poetic, richly tonal scores for the plays.
For example, the music in "Morning Scene" is like a cool spring, setting off the beauty of the morning sun breaking through the clouds in a peaceful pastoral atmosphere, trembling with the vibrant pulse of nature; This kind of violent, rough and aggressive music gives people an unforgettable weird impression; "Death of Osei" is Pierre's elegy in front of his dying mother's bed, and the melancholy melody is like the last breath before sleep and the slow decline of life; and "The Death of Osei" "Song of Solveig" is a masterpiece among all the soundtracks. It depicts Solveig's gentle and pure character and soul with its crystal clear and graceful folk song style. In addition, some exotic music pieces, such as the "Arabic Dance" with typical oriental characteristics, and the "Anitra Dance" that is both elegant, light and passionate, are all uniquely charming due to the colorful orchestration tones.
His works with outstanding artistic achievements and national characteristics include the early "Piano Concerto in A minor" (1868), the string music "Two Tragic Tunes" ("Trauma" and "Late Spring"). , 1881_), "Violin Sonata No. 2" in G major (1867), "Violin Sonata No. 3" in C minor (1887), "String Quartet in G minor" (1877～1878), "Piano Sonata in E minor" (1865) ). To commemorate the "Hallburg Cantata" and the piano suite "The Hallburg Age" (1884, once adapted into a string suite) written by the dramatist L.H.B. Holberg, the founder of Danish national drama; the title is based on the theme of a folk song The fantasy sketch "Piano Ballade in G Minor" (1876) and other works all reflect Grieg's ideological interest and fresh style in his piano lyric sketches.
At the French Impressionist New World Sound Symposium, many music researchers pointed out the importance of Grieg's late works. February 1926, Morris. When Ravel visited Oslo, he said: "The French composer class in which I belong has been strongly attracted by his music. Except for Debussy, there is no composer who can arouse my excitement like Grieg." La Bartók, the composer who tried to innovate the musical form of the 20th century on the basis of folk music, also felt the huge impact of Grieg's piano adaptations.
Edward. Grieg's goal was to create a national musical form that fully expressed the personality of the Norwegian people. In this regard, he was a great inspiration to other composers. However, the significance of his works is not limited to this. In fact, Grieg's music has already transcended national boundaries, which fully demonstrates that he is by no means just a national composer. Grieg
This piece of music has all the charm of Grieg's music, such as a pure melody full of Norwegian folk style, as well as novel chords and light rhythms. The music material is novel, lively and full of youthful vitality. The author himself is a master of piano, so he gave full play to the performance of this instrument, forming a very free and colorful style, which is close to Liszt in terms of piano skills. Although this piece follows tradition in terms of musical form, there are various novel ideas in many details. In the third movement, you can see quite free development. The tone of the whole song is of a typical romantic nature, and is full of the "Scandinavian sentiment" with deep colors and elegance, which is bred from the lush and densely forested mountains in the Nordic nature.
The whole song is divided into three movements:
The first movement is a moderate Allegro, in A minor, in 4/4 time, in sonata form. The lead piano actively displays the outline of the exposition from the beginning (Excerpt 1). The following theme is pure and simple, full of Nordic folk sentiment, and full of longing for the future. It is a complete reflection of the author's romantic artistic style (fragment 2), and fully displays the personality of Grieg's music.
The second movement is Adagio, in the key of D flat major, in 3/8 time, and in compound three sections. The first section consists of string instruments equipped with muted instruments softly playing a quiet meditative theme. In the second section, the lead piano plays a beautiful fast-sounding group melody with a delicate cadenza, and the second half becomes more gorgeous and technical (Excerpt 3). Soon, the rhythm of the music changed from rapid to calm, and then gradually disappeared. The music enters the third movement without interruption.
The third movement is a strengthened allegro of the middle, in A minor, in 2/4 time, with a free conception based on the rondo sonata form. The urgent speed of the lead piano is as passionate and unrestrained as Norwegian folk dance music (Fragment 4), forming a broad and magnificent epic. The movement ends in a warm and jubilant atmosphere. Grieg was invited to write the score for Ibsen's poetic drama "Peer Gynt", which was completed between 1874 and 1875. However, the two suites (each divided into four sections) he selected from the score were not completed until 1888. and 1891 were compiled successively. Both suites are representative works of composer Grieg. Although the play "Peer Gynt" is not the representative work of the famous Norwegian writer and playwright Ibsen, it occupies a very important position in all the author's plays. Ibsen's poetic drama "Peer Gynt" uses a lot of symbols and metaphors to create a series of confusing dream realms and images, analyzing the extreme egoism of the Norwegian upper class at that time, and at the same time touching on the world at that time. many major political events. Regarding this poetic drama by Ibsen, Grieg once made this summary on the title page of his "Second Suite": "Peer Gynt is a character who is pathologically addicted to fantasy and has become a man obsessed with power. And the victim of arrogance and arrogance. When he was young, he had many rough and reckless behaviors, and suffered many tricks of fate. Peer Gynt ran away from home, and after traveling around, he was already old when he returned. On the way home the boat capsized again, leaving him as destitute as when he left home. Here, Solveig, the lover of his youth and loyal to him for many years, came to greet him, and he pressed his face against Solveig in exhaustion. On Georg's knees, he finally found his resting place." Although the "Song of Solveig" in the second suite is indeed a masterpiece, the "first suite" is generally more popular. The eight pieces of music selected into the two suites are arranged only according to the requirements of the music and are not constrained by the plot development of the original play at all.
The first suite of "Peer Gynt" is divided into four sections:
(1) "Morning Scene"
It was originally the fourth act of the poetic drama Prelude to the fifth scene. The protagonist traveled far across the ocean, to the Americas to traffic slaves, to China to traffic idols, and became a wealthy businessman for a while. At this time, he came to Morocco. One morning, in front of a cave, he used a monologue to reveal his inner activities. But what this music depicts is not the hot desert, but more like the quiet and refreshing lyrical picture of the Nordic morning. The music has a pastoral style and consists of a single pastoral theme developed freely and carefully (Fragment 1, Fragment 2).
(2) "The Death of Osi"
When his mother Osi was dying, Peer Gynt rushed back. He recalled his childhood scenes for his mother and used fantasy to The story of accompanying his mother to the feast in heaven. This is a very touching scene in the whole play. This piece of Grieg's score is solemn and solemn, and can be called a lament or a funeral march.
(3) "Anitra's Dance"
Excerpted from Act 4, Scene 6 of the poetic drama. In a desert oasis, in an Arab sheikh's tent, the sheikh's daughter Anitra is dancing to flatter Peer Gynt. This piece of music depicts exactly this scene, but strictly speaking, it far exceeds its role as a soundtrack, because it directly participates in the content of the drama and becomes an inseparable part of the poetic drama (Fragment 3).
(4) "In the Demon King's Palace"
It was originally the prelude to the sixth act of the second act of the poetic drama. The protagonist flirts with the demon king's daughter in the mountains, and marries the demon girl under the threat of the demon king. This scene points out the theme of the whole play, that is, the difference between humans and monsters, and is the real core of the most fantasy second act (fragment 4).
The Second Suite of "Peer Gynt" is also divided into four sections:
(1) "Ingrid's Lament"
Originally The interlude before the second act. At a wedding in the countryside, Peer Gynt kidnapped his friend's bride, Ingrid, and took her to the mountains. After playing with her enough, he abandoned her, saying that what he really loved was Solveig. This piece of music uses Ingrid as the main image, showing a very exciting and helpless emotion, which can be called a wonderful Norwegian lament.
Grieg
(2) "Arabic Dances"
(3) "The Return of Peer Gynt"
Original It is the prelude to the fifth act. In the fifth act, the protagonist is already an old man with gray beard and hair. He is standing on the ship returning to Norway, wearing ragged clothes and looking cold.
(4) "Song of Solveig" was composed in 1881. It is the second of the four dance pieces composed by the author. It was originally a piano piece for four hands. In the same year, it was adapted into a piano solo and orchestral piece, which became widely circulated (excerpt 1). The music adopts the "ABA" trilogy format, in A major, Allegro minor, in 2/4 time. Theme A has a jumping melody pattern and a calm and solemn rhythm, forming a relaxed and peaceful atmosphere. After repeating this theme, it suddenly speeds up and uses a stronger sound to play the contrasting middle theme B. This theme in F-sharp minor is rough and passionate, making the music reach a warm climax. Although the music in Section B is in sharp contrast to Section A, there is a close relationship between the themes and materials. Finally, the music reproduces the beginning (section A) and ends in a smooth and relaxed atmosphere.