After marrying Nina Hagerup in 1867, Grieg settled in Oslo to assume an imperial position in its musical life. He also achieved worldwide recognition as a composer through his violin Sonata in F major, the A major piano concerto, and the incidental music to Ibsen’s Peer Gynt. He was the recipient of many honors both from his native land and from foreign countries. His sixtieth birthday was honored as a national Norwegian holiday. From 1885 on Grieg lived in a beautiful villa, Troldhaugen, a few miles from Bergen. Music lovers made pilgrimages to meet him and pay him tribute. His remains were buried there following his sudden death in Bergen on September 4, 1907.
Its national identity is the quality that sets Grieg’s music apart from that of most of the other Romanticists of his day. Though he rarely quoted folk melodies or dance tunes directly, he produced music that is Norwegian to its core. In his best music he speaks of Norway’s geography, culture, people, backgrounds, holidays, and legends in melodies and rhythms whose kinship with actual folk music is unmistakable.
The Holberg Suite for string orchestra, op. 40 (1885)—or to use its official title of From Holberg’s Time—was written to honor the bicentenary of Ludvig Holberg, often called the founder of Danish literature. The composer also adapted this music for solo piano. Bearing in mind that the man he was honoring belonged to a bygone era, Grieg wrote a suite in classical style and with strictly classical forms; but his own romantic and at times national identity is not sacrificed. The first movement is a “Prelude,” a vigorous movement almost in march time. This is followed by three classical dances—“Sarabande,” “Gavotte,” and “Musette.” The fourth movement temporarily deserts the 17th and 18th centuries to offer a graceful “Air” in the manner of a Norwegian folk song, but the classical era returns in all its stateliness and grace in the concluding “Rigaudon.”
In Autumn, a concert overture for orchestra, op. 11 (1865, revised 1888) was Grieg’s first effort to write symphonic music. This composition is a fresh and spontaneous expression of joy in Nature’s beauties. The principal melody is a song written by Grieg in 1865, “Autumn Storm.” This material is preceded by an introduction and followed by a coda in which a happy dance by harvesters is introduced.
The Lyric Suite for orchestra, op. 54 (1903) is an adaptation by the composer of four numbers from his Lyric Pieces, for piano—a set of sixty-six short compositions gathered in ten volumes, each a delightful miniature of Norwegian life. The first of the four episodes in the Lyric Suite is “Shepherd Lad,” scored entirely for strings, music in a dreamy mood whose main romantic melody has the character of a nocturne. “Rustic March” (or “Peasant March”), for full orchestra, has for its principal thought a ponderous, rhythmic theme first given by the clarinets. The third movement is a poetic “Nocturne” whose main melody is presented by the first violins. The suite ends with the popular “March of the Dwarfs” in the grotesque style of the composer’s “In the Hall of the Mountain King” from Peer Gynt. This movement alternates a sprightly fantastic march tune (first heard in the violins) with an expressive melody for solo violin.
The Norwegian Dance No. 2 is the second of a set of four folk dances originally for piano four hands and later transcribed by the composer for orchestra, op. 35 (1881). This second dance, in the key of A minor, is probably the composer’s most famous composition in a national idiom. It is in three parts, the flanking section consisting of a sprightly rustic dance tune, while the middle part is faster and more vigorous contrasting music. The other somewhat less familiar, but no less beguiling, Norwegian Dances are the first in D minor, the third in G major, and the fourth in D major.
The Peer Gynt Suite No. 1, for orchestra, op. 46 (1876) consists of four numbers from the incidental music for the Ibsen drama, Peer Gynt, produced in Oslo in 1876. Ibsen’s epic is a picaresque drama about a capricious and at times spirited Norwegian peasant named Peer, and his fabulous adventures, some of them amatory. He abducts the bride, Solveig, then deserts her; as an outlaw he roams the world; when he returns home he finds Solveig still believing in him and through that belief he comes upon salvation.
The first movement of Suite No. 1 is a bucolic picture, “Morning,” in which a barcarolle-type melody is prominent. This is followed by a tender elegy for muted strings, “Ase’s Death,” Ase being Peer Gynt’s mother. A capricious, sensual dance follows, “Anitra’s Dance,” a mazurka-like melody with an Oriental identity. The final movement, “In the Hall of the Mountain King” is a grotesque march built from a four-measure phrase which grows in volume and intensity until it evolves into a thunderous fortissimo.
Grieg prepared a second suite from his incidental music for Peer Gynt, op. 55. Only one movement from this set is popular, “Solveig’s Song,” a haunting Norwegian song for muted strings portraying Solveig, the abducted bride who thereafter remains forever faithful to Peer Gynt. This is the final movement of a suite whose preceding movements are “Ingrid’s Lament,” “Arabian Dance,” and “Peer Gynt’s Homecoming.”
Sigurd Jorsalfar, a suite for orchestra, op. 56 (1872, revised 1892) also comes from the incidental music to a play, in this case a historical drama of the same name by Bjørnstjerne Bjørnson, produced in Oslo in 1872. The central character is the twelfth-century Norwegian king, Sigurd, who joins the Crusades to fight heroically against the Saracens. There are three movements to this suite. The first “Prelude” is subtitled “In the King’s Hall,” and has three distinct sections. In the first of these the main thought is a theme for clarinets and bassoons against plucked strings; in the second, a trio, the most prominent melody is that for flute imitated by the oboe; the third part repeats the first. The second movement is “Intermezzo” or “Borghild’s Dream.” This is serene music alternated by an agitated mood. The finale is “March of Homage” in which trumpet fanfares and a loud chord for full orchestra set the stage for the main theme, in four cellos. This same theme is later proclaimed triumphantly by the full orchestra. Midway there appears a trio in which the first violins offer the main melody.