Violin Sonatas (Grieg)

Group of works by Edvard Grieg From Wikipedia, the free encyclopedia

Norwegian composer Edvard Grieg wrote three violin sonatas. They are all examples of his musical nationalism, since they all contain references or similarities to Norwegian folk song. Grieg wrote the sonatas between 1865 and 1887.

Violin Sonata No. 1 in F major, Op. 8 was written in Copenhagen in 1865.
Violin Sonata No. 2 in G major, Op. 13 was written in Oslo (then Christiania) in 1867.
Violin Sonata No. 3 in C minor, Op. 45 was completed while Grieg was living in Troldhaugen in 1887.

Violin Sonata No. 1 in F major, Op. 8

Grieg composed this sonata in the summer of 1865 while on holiday with Benjamin Feddersen in Rungsted, Denmark, near Copenhagen. The piece was composed shortly after his only piano sonata was completed that same summer.^[1]

Concerning the piece, Norwegian composer Gerhard Schjelderup commented: it is "the work of a youth who has seen only the sunny side of life."^[2] Despite this, many sections of the work are quite dark and turbulent.

The sonata has three movements:

Allegro con brio
Allegretto quasi andantino
Allegro molto vivace

The violin's opening theme in the first movement:

Violin Sonata No. 2 in G major, Op. 13

This sonata was dedicated to Norwegian composer and violinist Johan Svendsen.^[3]

On the second sonata, Schjelderup remarked: it is "the gift to the world of a man who has also shivered in the cold mists of night." Also, due to the sonata's tragic qualities, he considered the piece more Norwegian than the first sonata and "a Norway without tragedy is not a complete Norway."^[2]

When Grieg presented the sonata to his teacher Niels Gade, he proclaimed the work "too Norwegian" and professed that his next sonata should be less Norwegian. Grieg, reportedly, in defiance claimed that his next sonata would be even more Norwegian.^[1]

First movement

Introduction (G minor): $ew PianoStaff with { connectArpeggios = ##t } << ew Staff = "up" { elative c'' { key g minor ime 2/4 clef treble override Score.MetronomeMark #'padding = #4 set Score.tempoHideNote = ##t empo "Lento doloroso" 4 = 32 set Staff.midiInstrument = #"acoustic grand" stemUp once override PhrasingSlur #'control-points = #'((0.69 . 4.69) (16.9 . 6.9) (69 . 6.9) (69 . -4)) <g d'>4--(^( q8-- q--) | override TupletBracket #'stencil = ##f override TupletNumber #'Y-offset = #-2 imes 2/3 { <fis d'>16arpeggio bes c } a8 ~ a16 bes32-- c-- bes-- a-- g-- fis-- | change Staff = "down" <bes, d>4^-^( q^- | q2^-)) }} ew Dynamics { s2p } ew Staff = "down" { elative c' { key g minor ime 2/4 clef bass set Staff.midiInstrument = #"acoustic grand" stemDown <g bes d>4--( q8-- q--) | <c, g' a es'>8arpeggio r r4 <g d' g>4 q | q2 }} ew Dynamics { s2 s16sustainOn s4..sustainOff s2sustainOn ssustainOff } >>$

1st theme (G major)

2nd theme (B minor): $elative c' ew Staff with { emove "Time_signature_engraver" } { key g major ime 3/4 clef treble set Staff.midiInstrument = "violin" set Score.tempoHideNote = ##t empo 4 = 144 set Score.currentBarNumber = #88 bar "" r4 r fis_markup { dynamic p italic { "tranquillo ed espress." } } | b2( cis4) | ais2( fis4) | b4.( d8< cis4) | ais2( fis4) | b4.( d8 cis4) | ais( fis ais) | a!2.( | fis'4)! r }$

3rd theme (D major): $elative c'' ew Staff with { emove "Time_signature_engraver" } { key g major ime 3/4 clef treble set Staff.midiInstrument = "violin" set Score.tempoHideNote = ##t empo 4 = 178 set Score.currentBarNumber = #135 bar "" override Score.SpacingSpanner #'common-shortest-duration = #(ly:make-moment 1 9) d8-.[pp^markup { italic "a tempo" } r16 e%? ( d8) r16 cis( a4)]-- | d8-.[ r16 e( d8) r16 cis( a4)]-- | d,8[ r16 e( d8) r16 cis( b8) r16 d16(] | cis8)[ r16 e( b8) r16 cis]( a8)-. r | }$

Second movement

Theme (E minor): $elative c'' ew Staff { key e minor ime 3/4 clef treble set Staff.midiInstrument = "violin" set Score.tempoHideNote = ##t empo "(Allegretto tranquillo)" 4 = 60 set Score.currentBarNumber = #9 bar "" override Score.SpacingSpanner #'common-shortest-duration = #(ly:make-moment 1 5) b8.(p^markup { fontsize #-1 column { "sul D" italic "cantabile" }} c16 b4 e) | d8.( e16 d4 b) | g8.( a16 g4 c) | imes 4/5 { c16( b g e g } b2) | b8.(^markup { fontsize #-1 "sul A" } c16) b4( e) | b8.(< cis16) b4( g) | g'4> ~ imes 2/3 { g8 fis e } imes 2/3 { g, b a! } | acciaccatura { b8 } a4-. g2-- | }$

Third movement

1st theme (G major to D major)
2nd theme (E♭ major): $elative c'' ew Staff { key es major ime 3/4 clef treble set Staff.midiInstrument = "violin" set Score.tempoHideNote = ##t empo 4 = 166 set Score.currentBarNumber = #117 bar "" bes2._markup { dynamic p italic "(tranquillo)" } | c8-- d-- es2-- | slashedGrace { es8 } d8-- c-- bes2-- | slashedGrace { bes8 } as8-- g-- f2-- | slashedGrace { f8 } bes,4. ( g'8 es4) | c'2( g'4) | f2.( | es4) r r | }$

Violin Sonata No. 3 in C minor, Op. 45

Grieg began composing his third and final violin sonata in the autumn of 1886. Whereas the first two sonatas were written in a matter of weeks, this sonata took him several months to complete.^[4]

The sonata remains the most popular of the three works, and has established itself in the standard repertoire. The work was also a personal favorite of Grieg's. The sonata premiered with Grieg himself at the piano with well-known violinist Adolph Brodsky in Leipzig. To a certain extent, Grieg built on Norwegian folk melodies and rhythms in this three-movement sonata. However, Grieg considered the second sonata as the "Norwegian" sonata, while the third sonata was "the one with the broader horizon."^[5]

This was the last piece Grieg composed using sonata form.^[6]