School encyclopedia. Norwegian music Norwegian classical composers

Grieg's work was formed under the influence of Norwegian folk culture.

“I drew from the rich treasury of folk songs of my homeland and from this hitherto unexplored radiation of the Norwegian folk soul I tried to create national art,” the composer himself wrote about his work. In his music, legends and fairy tales, colorful pictures of folk life, and images of the nature of Norway come to life.
Grieg is the first classic of Norwegian music. He placed Norway's musical culture on a par with the leading national schools in Europe. Grieg “sincerely and sincerely told the whole world in his writings about the life, everyday life, thoughts, joys and sorrows of Norway” (B. Asafiev). A P.I. Tchaikovsky said enthusiastically: “How much warmth and passion there is in his melodious phrases, how much surging life in his harmony, how much originality and charming originality in his... rhythm, like everything else, is always interesting, new, original!”

The life and creative path of Edvard Grieg

Edvard Grieg was born on June 15, 1843 in the large coastal Norwegian city of Bergen. Grieg's father (Scottish by birth) served as British consul. Mother was a good pianist and often gave concerts in Bergen. The Grieg family loved music, literature, and folk art. The future composer's first teacher was his mother. She instilled in him a love of classical music and hard work. The future composer first sat down at the piano at the age of 4, and already in childhood he began to be fascinated by the beauty of consonances and harmonies.
Grieg's first attempts at composing music date back to his childhood, and at the age of 12 he created his first serious work - variations for piano on a German theme.

Edvard Grieg at the age of 15
In 1858, Grieg graduated from school and entered the Leipzig Conservatory. Later, he recalled the years spent at the conservatory as routine, and his studies there as unsystematic, although he spoke of some teachers with great warmth: I. Moscheles, who helped him fall in love with the work of Beethoven, E. Wenzel, a talented musician and friend of Schumann, M. Hauptmann, a talented music theorist. And the musical culture of Leipzig itself played a big role in the formation of Grieg - Bach, Mendelssohn, Schumann lived here. “I was able to listen to a lot of good music in Leipzig, especially chamber and orchestral music,” Grieg recalled.
During his years of study, he showed himself to be a musical talent, especially in the field of composition, and also as an extraordinary “pianist with his characteristic thoughtful and expressive manner of performance.”

Copenhagen

Grieg loved his hometown of Bergen very much and after graduating from the conservatory he returned to his homeland. But he soon realized that his talent could not develop in a city where the musical culture was not at the proper level. The center of the musical life of Scandinavia at that time was Copenhagen. And Grieg goes there.
In Copenhagen, he met the famous poet and storyteller Hans Christian Andersen and writes songs based on his texts, as well as on the texts of the Norwegian romantic poet Andreas Munch.

Nina Hagerup and Edvard Grieg during their engagement (circa 1867)
Here Grieg met the singer Nina Hagerup, who performed his vocal compositions and later became his wife. The meeting with the young Norwegian composer Rikard Nordrok was also of great importance. He, like Grieg, was a supporter of the development of Norwegian national music, and this common interest brought them together: “My eyes were definitely opened! I suddenly comprehended all the depth, all the breadth and power of those distant prospects of which I had no idea before; Only then did I understand the greatness of Norwegian folk art and my own calling and nature.”
Grieg and Nurdrock organized the musical society "Euterpa", which was supposed to introduce the public to the works of Scandinavian composers.
Grieg lived in Copenhagen for 3 years (1863-1866) and wrote many works there: “Poetic Pictures” and “Humoresques”, a piano sonata and the first violin sonata, songs. In the lyrical “Poetic Pictures” (1863), national features still very timidly emerge, but the outlines of a folk melody are obvious in some of them. In “Humoresques” (1865), the rhythms of folk dances sound much bolder, although they still feel the influence of Chopin’s mazurkas, whose music Grieg loved very much.

Christiania (now Oslo)

In 1966-1874. Grieg lived in Christiania (as the capital of Norway was called until 1925). Here in 1866 Grieg organized a concert of Norwegian composers, in which his works were performed: piano and violin sonatas. Grieg was invited to the post of conductor of the Christiania Philharmonic Society, a post he held for the next 8 years. It was a busy but very fruitful time: he introduced music lovers in Norway to the works of the best composers in Europe: Haydn, Mozart, Beethoven, Schumann, Schubert, Mendelssohn, Wagner. Grieg paid great attention to the performance of works by Scandinavian composers. He became close to the leading representatives of Norwegian culture.
During this period of time, his work became mature, he created a piano concerto (1868), a second sonata for violin and piano (1867), the first notebook of “Lyric Pieces”, many songs, including poems by Andersen, Bjornson, Ibsen. He studies Norwegian folklore and writes the cycle “Norwegian Folk Songs and Dances for Piano”. The cycle is conceived in the form of simple piano pieces accessible to music lovers. Then the composer writes a second violin sonata. The second sonata and piano concerto were highly praised by Liszt, who began to include the concerto in his performances. Grieg also dreamed of creating an opera, but this did not happen, because... In Norway, the traditions of opera culture have not yet developed. But he writes music for Bjornson’s dramatic monologue “Bergliot” (1871) about the heroine of a folk saga who raises the peasants to fight the king, as well as music for Bjornson’s drama “Sigurd Yrsalfar” based on the plot of the Old Icelandic saga.

The history of the creation of "Peer Gynt"

Solveig (heroine of the drama "Peer Gynt")

In 1874, Ibsen invited Grieg to write music for a production of the drama Peer Gynt. The composer was a long-time and sincere admirer of Ibsen, so he immediately agreed. The music was written during 1874. The performance of Peer Gynt in Christiania on February 24, 1876 was a great success, and the music gradually began to live its own life, independent of the play, it was so heartfelt and understandable to listeners. The music for Ibsen's drama Peer Gynt brought Grieg widespread popularity in Europe.

Trollhaugen

Grieg's house in Bergen
After the success of Peer Gynt, Grieg left his job as a conductor in Christiania to concentrate on creative work. He moves to a secluded area among the beautiful nature of Norway: first to Lofthus on the shore of one of the fiords, and then to the famous Trollhaugen (“troll hill”) in the mountains, not far from his native Bergen. From 1885 until Grieg's death, Trollhaugen was the composer's main residence.
Grieg passionately loved Norwegian nature, and for him life among his native nature was not only relaxation and pleasure, but a source of strength and creative inspiration. This love was expressed in his songs: “In the Forest”, “Hut”, “Spring”, “The Sea Shines in Bright Rays”, “Good Morning”, as well as in other works.

Edvard and Nina Grieg (1888)
Since 1878, Grieg and his wife began a series of concert performances in different European countries, mainly performing his own works. They visited Germany, France, England, Holland, and Sweden with concerts. In 1888, a meeting between Grieg and P.I. took place in Leipzig. Tchaikovsky. Grieg's music was surprisingly close to the creative genius of Tchaikovsky in its special sincerity, melody and simplicity. Grieg and Tchaikovsky were very sympathetic to each other, they were similar in character: both were very modest, shy, honest and principled in their work.
Grieg did not forget his native Bergen. Here in 1898 he organized the first music festival. The Amsterdam Symphony Orchestra was invited to perform works by Norwegian composers. The festival played a huge role in the life of Norway. “Now people in Bergen, as well as in Christiania, say: we must have a better orchestra! This is a great triumph for me,” wrote Grieg.
In 1875 he wrote “Ballad for Piano” in the form of variations on a folk song - the largest of Grieg's solo piano works. In 1881, the famous “Norwegian Dances” were created for piano four hands for amateurs. In 1884, the piano suite “From the Times of Holberg,” dedicated to the 18th-century enlightenment writer, was completed. Ludwig Holberg. It is designed in the style of music of the 18th century. In the 80s, Grieg created chamber instrumental works of large form: sonata for cello and piano (1883), third sonata for violin and piano (1887).

The last period of creativity

In the 1890s and early 900s, the composer created the most piano music and songs. He also made many arrangements of folk songs. He wrote: “This summer I found in the mountains many unpublished, unknown folk songs that are so wonderful that it was a real pleasure for me to set them down for the piano.” Thus, in 1896, the cycle “Norwegian Folk Melodies” arose - poetic pictures of nature and lyrical songs.
In 1893 he was awarded an honorary doctorate from Oxford University.
Grieg's last major orchestral work, Symphonic Dances (1898), was written on folk themes; it is, as it were, a continuation of the Norwegian Dances.

Edvard Grieg (1907)
In the last years of his life, Grieg was also engaged in literary work: he published the autobiographical story “My First Success” and the programmatic article “Mozart and his significance for modern times.” In April 1907, the composer made a large concert tour through the cities of Norway, Denmark, and Germany, but he was already seriously ill.
On September 4, 1907, Grieg died in Bergen. His death in Norway was perceived as national mourning. According to the composer's will, his ashes were buried in a rock above the fjord near his villa. Later a memorial house-museum was founded here.

Grave of Edward and Nina Grieg

About the work of Edvard Grieg

Grieg's creativity is vast and multifaceted. He wrote works of various genres, works of large form (Piano Concerto and Ballade, three sonatas for violin and piano, sonata for cello and piano, quartet).
He created many works in the genre of instrumental miniatures: the cycles “Poetic Pictures”, “Leaves from an Album”, “Lyrical Pieces”. He was also attracted to chamber vocal miniatures: romance, song. Symphonic works include the suites “Peer Gynt” and “From the Times of Holberg”.
Grieg made many arrangements of folk songs and dances in the form of piano cycles and for orchestra.
His works are lyrical. “Listening to Grieg, we instinctively realize that this music was written by a man driven by an irresistible attraction through sounds to pour out an influx of sensations and moods of a deeply poetic nature” (P.I. Tchaikovsky).

Edvard Grieg (1888)
Programming, based on the embodiment of impressions from poetic images of nature, folk fiction, and folk life, acquires great importance in his music. Grieg wrote many small pieces for piano, combined into cycles: “Poetic Pictures”, “Scenes from Folk Life”, “Norwegian Dances and Songs”, “Norwegian Dances”, “Lyrical Pieces” (10 notebooks). They are especially popular among music lovers.
Grieg's musical language is unique and associated with Norwegian folk music. The melodies he created are permeated with intonations typical of her.
Grieg paints wonderful musical pictures that attract with their poetic imagery and richness of imagination. These are the piano pieces “Procession of the Dwarves”, “Kobold”, “Wedding Day in Trollhaugen”, “In Spring”, etc. They use the melodies and rhythms of Norwegian dances, especially springdance and halling.
One of Grieg’s most popular works is the music for the drama “Peer Gynt” by the famous Norwegian writer Henrik Ibsen.

Edvard Grieg was born on June 15, 1843 in the second largest and most important city in Norway - Bergen. The son of a vice-consul and a pianist, from childhood he showed a love of music, and at the age of four, he was already sitting at the piano.

At the age of twelve, Edvard Grieg wrote his first piece of music, and at fifteen he went to study at the Leipzig Conservatory, from which he graduated with honors, but recalled his years of study without pleasure. He was disgusted by the conservatism of the teachers and isolation from the world.

Having said goodbye to the conservatory, Edvard Grieg returned to Bergen. He was inspired by the creation of a new national art, but he never found like-minded people in his hometown. But he found them in Copenhagen, the center of musical life in Scandinavia, having founded the musical community “Euterpe” in 1864, in which he was able to prove himself not only as a talented composer, but also as a pianist and conductor.

There he met his future wife Nina Hagerup, who was Edvard Grieg's cousin. The last time he saw her was an eight-year-old girl, and now a charming singer with a beautiful voice stood in front of him, who immediately won his heart. Despite the fact that the lovers' relatives were against their marriage, Edvard Grieg and Nina Hagerup got married in July 1867. Trying to escape family pressure and the anger of their parents, who cursed the newlyweds, Edward and Nina moved to Oslo.

Soon Nina Hagerup gave birth to a daughter, Alexandra. The girl died of meningitis after living just over a year. Having difficulty experiencing the pain of losing a child, the couple lived separately from each other for some time, but once reunited, they never parted. Edvard Grieg and Nina Hagerup were able to turn their marriage not only into a union of two loving people, but also into a successful creative union.

Recognition came to Edvard Grieg in 1868. And in 1871 he founded the Christiania Musical Association. At that time, Edvard Grieg set out to develop among his admirers a love for romanticism, which was completely unpopular in Norway. In 1874, Edvard Grieg received a lifelong state scholarship. On February 24, 1876, one of the composer’s iconic works was published – the music for the drama “Peer Gynt”, recognized throughout Europe.

By this time, Grieg had visited Germany, France, Holland, England, and Sweden. In 1888, in Leipzig, Edvard Grieg met Pyotr Ilyich Tchaikovsky. The acquaintance was successful, and Tchaikovsky became a close friend of Grieg, cementing the relationship with the Hamlet overture dedicated to him. And in 1898, Edvard Grieg participated in the organization of the Norwegian Music Festival, which is still very popular in the composer’s homeland.

Grieg's last trip to Norway, Denmark and Germany took place in 1907. And on September 4 of the same year, Edvard Grieg died. All of Norway mourned for him. National mourning was declared in the country. The work of Edvard Grieg is filled with epic and lyrical songs. In his piano pieces, the great composer was able to depict Norwegian folk dances. Edvard Grieg's music conveys to the listener not only the author's personal experiences, but also folk song and dance in the most vivid pictures of nature and life.

Medvedeva Alina

Musicians testify to the ancient origin of N. m. tools found during excavations in the area. Norway: bronze horns (2nd century BC), ancient harps, lutes, violins, images of instruments on stones (2nd century) and in the ornaments of wooden churches (from the 12th century), sculpture of people. musician-shpilman in Nidaros (later Trondheim) Cathedral (12th century). In the sagas and poems of Icelandic-Norse. the epic "Elder Edda" (late 11th century) mentions muses. instruments of the heroes (Yallar's horn, birch bark lur, which Heimdal blows, Egter's harp), as well as musicians from the retinue of King Hugleik. Among them: horns - lurs, hand horizontal harps - crogarp (wide) and its varieties langarp (oblong) and langleik (long); adv. violins - gigya and fiddle (fele), accompanied by which the skalds sang their poems. Shepherds' instruments are of ancient origin - bukkehorn (goat horn), prillarhorn (horn), prillar (bull horn), birch bark lur, munharp (harmonica), selye (a type of flute). In the 16th-17th centuries. The yogya, or hardingfele, became widespread - a violin from Hardanger (west coast of Norway) with playing and resonating strings (like the viol d'amour), usually decorated with carvings and inlaid with mother-of-pearl. Information has been preserved about the traveling folk singer-poets S. Fenesbana and X. Runge, fela players.

Norway has long been famous for its virtuoso violinists; among the people known musicians are K. Lurosen, N. Rekve, T. Audunsen (nickname Möllarguten, i.e. “Miller”) and others. Instrumental tunes were passed down from generation to generation (in the 19th century they were used by W. Bull, who performed with the people. violinist Möllarguten, and E. Grieg). Nar. instr. The tunes (slotts, luarslotts, langleikslotts) have retained their bizarre imagery and originality - melodic, modal, intonation. originality associated with the characteristics of people. modes (mostly with revolutions corresponding to the Lydian mode, with intervals of 3/4 tones in the Lura, etc.), rhythmic features (syncopation, triplets, punctuated rhythms).

Among the genres of folklore. songs - lullabies, comic, love, "heroic", competitive (when singers alternately improvise variations of tunes), fishermen, as well as spiritual; especially original are the shepherd's ones, rich in melismatics, mainly. based on onomatopoeia to roll calls in the mountains and the playing of horns, ending with a developed grace (genres of locking, hawking, liling). Peculiar people. dances (especially in the areas of Hardanger, Trondheim and Telemark), which for their rapid pace, jumps, syncopations are called “dances of mountain spirits”, “dances of the devil”: springgar, springdance (“jumper” - a group dance in a three-beat measure, performed in pairs ), Halling (solo male dance in two-beat time - 2/4 or 6/8; requires strength and dexterity), fast Yelster; others include a wedding march and a slow, ancient Ghangar dance (6/8).

Features of Nar. N. m. are due to the originality of nature and the isolation of the mountainous regions of the country, where the mountains and seas, fjords, cliffs, gorges gave birth to songs about giants, inspiring courage, courage and passion for travel (characteristic features of the Vikings), as well as songs about mountain spirits, trolls and gnomes, forest maidens-guldrakh, fantastic. birds and animals. In epic songs of the 12th-16th centuries. the exploits of the Vikings (heroic "champeviser"), knights and the first kings - Harald Horfager, Olaf, Haakon and others were sung. The ancient ballads and song-poems were fantastic ("The Word of a Dream", "The Wedding of the Ravens", ballads about the fight of Sigurd with the Serpent -Fafner, the gnome Brura, etc.). Due to the characteristics of the development of Norway, which was under Danish rule in 1380-1814, national. prof. The art did not develop for a long time. At the same time, people N. m. retained its original features; were popular. singers and folk performers instruments.

Middle-century church N. m. developed in line with Europe. influences based on Gregorian chant. Later Nor. church musicians who studied in France Saint-Victor monastery, wrote music in the French style. polyphonists ("Magnus Hymn", 12th century; fragments from works associated with the cult of St. Olaf in Trondheim), then in the style of the masters of the Dutch school and Palestrina (motet of Ekhienus - Ormestard from Uppsala, 1590).

"The Ballad of a Dream" (12th century). The melody formed the basis for a number of symphonic and chamber instrumental works by contemporary Norwegian composers.

Choral collections with folklore tunes and norv. texts appeared only in the 19th century. (first collection - O. A. Linneman, 1835). Gor. and church musicians (mainly Danes and Germans) from the 17th century. were on a mountain salary. management. Prof. musicians of the 18th century (primarily Germans) - G. von Bertush from Oslo, author of 24 keyboard sonatas; composers and organists I. D. and I. G. Berlin (father and son: the latter was also a cembal player) from Trondheim; F. W. F. Vogel of Bergen; A. Flintenberg (Norwegian) from Christiania, who wrote cantatas and “passions”, organists, composers and conductors F. Groth and K. Arnold (teacher of H. Kjerulf and J. Svensen). From the end 18th century The Linneman family ("Norwegian Bachs") comes forward, from which several came out. generations of outstanding organists and composers. The most famous is L. M. Linneman, one of the founders of the Norse. music schools, composer (improviser), theorist and teacher, first collector of national. music folklore (became famous in England as an improvising organist). All R. 18th century Italy visited Norway for the first time. the opera troupe of P. Mingotti, which performed in the capital - Christiania (before 1624 and after 1924 - Oslo) "Artaxerxes" by K. V. Gluck (1749). In con. 18 - beginning 19th centuries European operas were periodically staged on drams. stages with the help of guest performers (from 1827 - in the Strömberg town, from 1837 - in the city town in Christiania). Orchestra concerts began in 1760. music in Christiania, in the hall of the town hall (director P. Heche). Music life developed ch. arr. in Christiania, as well as in Trondheim (Music Society, founded in 1761) and Bergen (Harmony Music Society, founded in 1765). Interest in people N. m. appeared in connection with the national liberation. movement of the 19th century, during the Swedish-Norwegian period. union (1814-1905). National-patriotic songs, incl. “The Sun of Norway” by K. Blom (1820, lyrics by H. Bjerregard), which was sung as a national song. hymn. The first Norse. composer who used national melody, was V. Trane (the mountaineer’s song from his music for X. Bjerregard’s play “Adventure in the Mountains” became popular). From ser. 19th century publications appear. songs and their samples: collections of L. M. Linneman: “68 melodies of the Norwegian mountains” (arranged for FP, 1841), “Old and new melodies of the Norwegian mountains” (1848-67), etc., later collections of K. Elling, U. M. Sanvik, A. Björndahl and others. In the 1850-60s. national is being formed. music school, in the development of the cut the influence of German played a role. romantics (K. M. Weber, R. Schumann, F. Mendelssohn), as well as F. Chopin. Among the founders of this school is X. Kjerulf, the creator of the Norse. romance, predecessor of E. Grieg in the lyrical genres. songs and fp. plays, founder of subscription symphonies. concerts in Christiania (1857), and U. Bull, world-famous violin virtuoso, composer, founder of the Norse. music t-ra Nat. stage (had its own orchestra) in Bergen - the center of the national. music movements. Outstanding musicians society the figure was the comp. and dir. R. Nurdrock, author of the national patriotic hymn ("Yes, we love our native land" to the words of B. Bjornson, based on a folk melody of the 16th century), organizer of music. Society "Euterpe" in Copenhagen (1864), propagandist of the new Norse. music, friend and inspirer of E. Grieg, who wrote the “Funeral March” in his memory. Among other musicians, 2nd floor. 19th century - conductor, composer and teacher, author of the first essay on the history of N. m. I. G. Conradi (collaborator of X. Kjerulf), pianist-composers T. D. A. Tellefsen (student of F. Chopin) and X. Cappelen, famous teacher E. Neupert (taught in Moscow in 1881-83), organist of Trondheim Cathedral and author of music. prod. diff. genres M.A. Udby, author of choirs and societies. figure I. D. Behrens, O. Winter-Helm (wrote the 1st Norwegian symphony) and F. A. Reissiger (composer and bandmaster). The most striking of Grieg's contemporaries is J. Svensen, a composer who created based on the Norse. music romantic folklore, incl. program, symphony producer, violinist and famous conductor (concerted in St. Petersburg in 1885).

The activities of these musicians prepared the ground for the work of E. Grieg, who headed the national romantic movement. direction, classic N. m., thanks to the Norse. music The art has gained worldwide recognition. His talent was clearly manifested in the music for modern plays. him national playwrights G. Ibsen and B. Bjornson, in cycles of fp. plays, romances, chamber instruments. and orc. production, where the pictures of the North are poetically captured. nature and people life, lyrical world. experiences and people fairy tale fiction. The originality of Grieg's work (the originality of melody, harmony, sharpness and whimsical rhythm) is due to the deep implementation of norms. music folklore Grieg was also an outstanding musical society. activist; he performed as a conductor (together with Winter-Elm) in subscription concerts (1867), in concerts of muses. society "Harmony" in Bergen (1880-82; after Grieg, the society was headed by I. Holter, P. Vinge, J. Halvorsen, H. Heide), in concerts of the Musicians. society, founded by him in Christiania together with J. Svensen (1871; successors - Svensen, W. Olsen, J. Selmer, Holter, K. Nissen; transformed in 1919 into the Philharmonic Society).

From the end 1870s in music life in Norway experienced further growth. A quartet society was organized in Christiania (1876), a conservatory was opened (1883; founder L. M. Linneman; his son Peter participated in its organization, led it until 1930, then the conservatory was led by L. M. Linneman’s grandson, B. T. Linneman). In the National Since 1899, operas and operettas have been staged by Norwegian artists with the participation of guest performers. Famous singers are U. My and M. Lundström, who performed in France (Tivoli Theater, 1883-86).

Among the composers 19 - 1st floor. 20th centuries - followers of Grieg and Svensen, who developed the traditions of the Norse. romanticism, symphonist J. Selmer (in his music the influence of G. Berlioz and R. Wagner is also noticeable: for the first time in N. music he used certain oriental instruments in the orchestra), A. Becker-Gröndahl (pianist, student of H. Bülow and F. Liszt; author of popular musical plays), W. Ohlsen, J. Harklow, K. Elling (also a folklorist), K. Sinding, who headed the national after Grieg. direction. The work of J. Halvorsen stands out, he was also a violinist and conductor, and recorded music. tunes for Grieg; created software products that differ in national coloring, in which he transformed the ancient norms. legends, used a Hardanger violin. G. Skjellerup's operas in the style of Wagner's muses received recognition outside Norway. dram National traditions with the influence of late German. Romantics were combined in their works. J. Borgström (author of symphonic poems; also wrote music-critical articles of the Wagnerian orientation), P. Lasson, S. Lee, pianists and composers. X. Kleve, E. Alnäs, and J. Bakker-Lunne. National the direction was continued by A. Eggen, to whom the sample belongs. adv. melodies (his brother E. Eggen is a researcher of folk music). Traits of impressionism appeared in the works of A. Hurum, T. Thorjussen, D. M. Johansen (also the author of a monograph on Grieg).

One of the prominent representatives of modern N. m. - F. Valen (follower of A. Schoenberg). In the 1920s he created his own type of linear dissonant polyphony (he was a teacher of many modern Norwegian composers), and developed the principles of dodecaphony. His work gained popularity in the end. 1940s (societies for the study of Valen's music were created in Oslo and London). For representatives of N. m. 1930-40s. characterized by both traditionalism (produced by L. I. Jensen, X. Lee, M. M. Ulvestad, S. Yurdan) and the desire to unite national. the basis with new ones will express. means. The latter direction includes X. Severud, who evolved from romanticism to expressionism, the author of works, dedication. resistance fighters, incl. "Slottov" for orchestra (1941), symphonies (the 5th, 1941, and the 6th, "Dolorosa", 1942), music for G. Ibsen's drama "Peer Gynt" (based on Norwegian and Eastern folklore) material); S. Olsen (he is characterized by a refined depiction of Norse nature, national coloring of images); K. Egge, E. Groven (the theme of his symphony “On the High Plains” became the call sign of the Norwegian radio; created a quarter-tone organ with the aim of embodying the popular N. m. in its intonation originality), E. Tveit (reflected the characteristic of N. ... a combination of elegiac and humorous features, originally interpreting Norse folklore in the fantasy "100 Hardanger Melodies", concertos for piano, for Hardanger violin and other works, using ancient folk instruments - a set of pentatonic drums , gained fame in France). Nar. melodies were also used in the “Norwegian concerto grosso” (1952) by U. Kjelland, an expert on instrumental music. N. m. (studied musical folklore of the Telemark region); on national based on choral productions. T. Beck.

In the 1930-40s. French composers are nominated. orientations - B. Brustad, P. Hull (also known as a music critic), K. Andersen (also a cellist and theorist). In modern Norway received it means. church development music and organ performance. Among the authors of the church. music - L. Nielsen, organist and cantor at Trondheim Cathedral, S. Icelandsmoen (oratorios based on folk melodies, etc.), outstanding organist A. Sanvoll, K. Baden (mass on modern text, 1953), R. Karlen (traditional church music). Among the composers, Ser. 20th century - E. Hovland, E. Hjelsby, K. Kolberg (ballet based on the religious plot “The Woman from Canna of Galilee”, with organ and percussion instruments), K. Nystedt, who went from national. romanticism through national colored neoclassicism ("Divertimento" for 3 trumpets and string orchestra, etc.) and expressionism ("Seven Seals" - "visions" for symphony orchestra) to sonorism ("Moment" for soprano, celesta and percussion).

If before the 40s. 20th century The dominant traditions in N. m. were national traditions. romanticism, ch. arr. Griga, then from the horse. 1940s interest in modern times prevailed. Western-European music. The most obvious influences are I. F. Stravinsky, P. Hindemith, B. Bartok, as well as D. D. Shostakovich, reflected in the work of I. Kvandal ("Symphonic Epic", 1962). French influences music of the 1940-1950s, as well as German. neoclassicism, manifested themselves in different ways in the works. P. H. Albertsen, E. F. Brein, E. H. Bull, E. Sommerfeld, T. Knudsen, A. Hjeldos, F. Ludt, A. Dörumsgaard and H. Jonsen, whose work, however, is not lost national coloring.

In the 1950-60s. norwegian avant-garde composers (see avant-garde) under the influence of modern The Polish school of composers (K. Penderecki, W. Lutoslawski, etc.) turned to sonorous experimentation. From the end 1960s in N. m. there is renewed interest in old muses. forms that are combined with the latest expressions. means. For modern N. m. is characterized by an elegiac interpretation of the traditional “Nordic theme” (the loneliness of man in the face of nature - mountains and sea distances, waterfalls, etc.). Since the 1950s composers stand out whose work is marked by bold searches and originality; among them - F. W. Arnestad (uses polyserialism in emotional lyrical and intricately colorful works - “Aria appasionata” for orchestra, etc.), F. Mortensen (pointillist and neo-polyphonist), B. Fongar (guitarist and composer , experimenting in the field of quarter-tone and electronic music). Outstanding modern master. N. M. A. Nurheim (Nordheim); Among his works performed in different countries is “Avteland” (based on the poem by P. F. Lagerkvist, 1957), Canzone for orchestra, which is a stylization of the Venetian Baroque and is distinguished by its unusual use of strings. instruments (op. 1961; performed in 1972 in Moscow by the Moscow Philharmonic Orchestra, conductor V.V. Kataev), “Epitaph” for orchestra and tape (based on the poem by S. Quasimodo; here the vibrations of musical instruments combine orchestral and electronic sounds , thus creating ringing sounds, hums, echoes - the image of mountain distances connecting man with space), “Respons” (“Respons”, for tape and 2 drum groups, 22 instruments each; “sounds of outer space” are reproduced ; the opus is built on the basis of electronic cantus firmus, combining an ale-atoric composition, using subtle light-and-shadow contrasts achieved thanks to the capabilities of electronic technology; performed in the so-called synthetic performances of the Museum of Contemporary Art in Oslo). Modern the youth composers are headed by A. Janson, a pianist, jazz musician and composer engaged in sonorous experimentation. Among other modern comp. - R. Bakke, M. Hegdahl, J. Mastad, A. R. Olsen, J. Persen, J. E. Peterson, W. A. ​​Thoresen, M. Ole and G. Sønstevold (popular music author).

Development of music. the life of Norway before the 2nd World War 1939-45 largely depended on private initiative, on the support of the society "Friends of the Philharmonic Orchestra" and the Philharmonic. society (Oslo), which has a choir (since 1921), strings. quartet and other ensembles. Symph. concerts were given by the National Orchestra. t-ra, reorganized into con. 1940s in the mountains symphony Oslo Orchestra. Symph. orchestras were also created in Trondheim (since 1909, reorganized in the 1930s; conductors - U. Hjelland, A. Fladmu, F. A. Oftedal) and Stavanger (since 1918, reorganized in 1938).

During the years of the Fasc. During the occupation, public concerts were stopped in protest. After 1945, the active development of music began. life (many new musical institutions were subsidized by the state). In 1946, to organize the symphony. orchestras, financing of the opera, construction of the concert. hall and the Higher School of Music in Oslo, a Music Committee was created. The municipality of Oslo organizes mountain concerts. symphony orchestra at the university, on the radio, tours around the country. There is a symphony in Bergen. music orchestra Society "Harmony", since 1953 annual May festivals of symphonies have been held. music (conductors - K. Garagul, A. Fladmu). Norway didn’t have its own opera theater until mid. 20th century Organized in 1918 Comic. the opera disbanded in 1921. In 1950, the joint-stock company "Norwegian Opera" arose (founders J. and G. Brunvolli, artistic director - Hungarian musician I. Pajor). In 1958, the Norwegian Opera opened in Oslo (director A. Fladmu, artistic director K. Flagstad and E. Fjelstad). Among the opera singers are I. Andresen, K. A. Estvig, J. Oselio, E. Gulbranson, K. E. Norena, A. N. Lövberg, singers - S. Arnoldson, G. Grorud. There is a conservatory in Oslo (since 1883), an Academy of Music in Bergen (since 1905), a conservatory in Stavanger (since 1945), and a Higher School of Music in Trondheim (since 1961; based on the music school created in 1911). Norv works. music publishing house (in Oslo). Since 1954, there has been a department of musicology at the Institute of Philosophy and History at the University of Oslo (it trains the main educational teachers who apply the system of musical education of K. Orff and Z. Kodaly). Numerous people work. music unions and associations, incl. Norv. Council on Claims, Union of Norms. composers, Philharmonic. Society, Society of New Music (section of the International Society of Contemporary Music, director K. Shulstad), Society of Friends of Music, Association of Norwegians. musicians, Norway union of muses teachers, Union of Soloists, "Young Norwegian Musicians", Union of Norwegians. opera singers, numerous. chorus unions.

Norway, a small northern country, has lived its own isolated life for a long time, not attracting attention to itself. It, like other Scandinavian countries, was opened to the rest of European countries thanks to the unusually bright outbreak of its national art in the second half of the 19th century. Norwegian writers G. Ibsen, B. Bjornson showed the whole world the beauty of the harsh northern nature, the heroism of ancient Norwegian legends, the poetry of inexhaustible folk imagination, which populated the forests and valleys of Norway with a whole crowd of fairy-tale creatures: trolls, gnomes, fairies, sometimes hostile, sometimes friendly to people .

What Ibsen and Viernson did in literature, Edvard Grieg did in music. His music, which grew out of Norwegian folk songs and dances, is clearly national and at the same time understandable and attractive to listeners from any country. And world musical art can no longer be imagined without Grieg, just as without Glinka, Schubert...

In turn, Andersen was one of the first to appreciate the composer's talent. Grieg also wrote a lot for the piano (he himself was an excellent pianist). His sonata, written in these early years, also belongs to the most popular works.

In the fall of 1866, Grieg returned to his homeland, full of energy and varied plans. In addition to his creative work and concert performances as a pianist and conductor, he works as a music critic, and in addition, he organizes the Music Academy - the first vocational music educational institution in Norway. The academy did not last long - only two years, since Grieg could not cope with organizational and financial difficulties. And there were many obstacles in the way of his other endeavors. “Norway is a funny country,” Grieg wrote to a friend. “While in the villages the people love their customs and consider it their highest happiness to live a healthy and full life as a nation, in the cities, and especially in the capital, it’s quite the opposite: the more imported, the better.” !

Struggling with life's difficulties, the young composer could not have imagined that an attentive and friendly gaze was watching his creative activity from afar. He unexpectedly received a letter from the world-famous composer himself, who greeted his younger brother in the most flattering terms and assured him that he “only has to follow his natural path in order to achieve high perfection.”

And immediately everything changed, Grieg received a state scholarship (which his friends had previously fussed about in vain), which meant the opportunity to work without thinking about tomorrow.

In the autumn of the same 1869, he went to Rome to meet personally with Liszt, who lived there. This meeting, in which the venerable composer once again showed his characteristic goodwill and generosity of heart, remained forever in Grieg’s memory. “I am sure,” Grieg wrote to his parents from Rome, “that in the memories of this hour lies miraculous power that will support me in the days of trials.”

Probably, in the parting words given by the old master to the young, there really was something miraculous hidden. It inspired Grieg, and the 1870s became years of creative growth. He creates wonderful adaptations of Hungarian songs and dances; he carefully preserves the features of folk art: pure, chaste lyrics, simple-minded, spontaneous humor and that unique originality of slightly harsh, tart intonations, which the composer himself called “the taste of sea salt.”

During these same years, his inspired piano concert was created, which musicologists rightly called the “Anthem of Norway.” Grieg's concerto stands on a par with such works of this genre: concertos by Tchaikovsky, Rachmaninov, Schumann, Liszt.

And finally, Grieg reaches the heights of art in collaboration with outstanding playwrights of Norway - in the music for Bjornson's dramas "Sigurd Yurzalfar" and "Bergliot" and for Ibsen's drama "Peer Gynt".

Among Grieg's musical and dramatic works, his music for Ibsen's drama "Peer Gynt" is especially widely known (separate numbers from it were included in two orchestral suites). This music, summing up the composer’s ascent, brought him worldwide fame. But he remained as modest and simple as in his youth. When performing abroad, he dreams of rural solitude and happily returns to his homeland.

Grieg spent more than a year (1877-1878) in the village of Lofthus on the shore of the fjord, building himself a “worker’s house” there, where the stove, piano and the owner himself could hardly fit. Local peasants became his friends, from whom he recorded folk songs and violin tunes. Beginning in 1885 (the composer was then 42 years old), the town of Trollhaugen near Bergen on the shore of the fjord became his permanent place of residence. There he spent the spring and summer, devoting them to creativity, communication with nature, and a break from concert trips, the purpose of which was to open Norway to European listeners.

Grieg’s sincere, pure and bright music is designed to awaken “good feelings” in people, as Pushkin said. And this was the composer’s conscious desire. At the height of the Russo-Japanese War, Grieg wrote to the Russian pianist A. Ziloti about the artist’s duty: “How little we have done! War songs and requiems can be wonderful. And yet the purpose of art is higher. It must bring people to the realization that art is a messenger of peace and that war is something impossible. Only then will we become human.”