GRIEG AND NATIONALISM IN MUSIC. http://userserve-ak.last.fm/servem/_/y3212640/Edvard+Grieg+Grieg.jpg. Edvard Hagerup Grieg
GRIEG AND NATIONALISM IN MUSIC
Edvard Hagerup Grieg
Was a Norweigan composer and pianist who composed in the romantic period. He is best known for his Piano Concerto in A minor, for his incidental music to Henrik Ibsen's play Peer grynt (which includes Morning Mood and In the Hall of the Mountain King), and for his collection of Piano miniatures Lyric Pieces.
Grieg was born in Bergen, Norway on 15 June 1843. The original family name was spelled Greig, originally from Scotland. Afterthe Battle of Culloden in 1746, his great-grandfather traveled widely, settling in Norway around 1770, and establishing business interests in Bergen. Grieg was raised in a musical home. His mother, Gesine B. Hagerup, became his first piano teacher, who taught him to play from the age of 6. He studied in several schools including Tank's School, and oftenz brought in examples of his music to class.
File:Edvard Grieg - Concerto in A minor,
List of compositions by Edvard Grieg
Piano Sonata in E minor, Op. 7
Violin Sonata No. 1 in F major, Op. 8
Concert Overture In Autumn, Op. 11
Violin Sonata No. 2 in G major, Op. 13
Piano Concerto in A minor, Op. 16
Incidental music to BjÃ¸rnstjerne BjÃ¸rnson's play Sigurd Jorsalfar, Op. 22
Incidental music to Henrik Ibsen's play Peer Gynt, Op. 23
Ballade in the Form of Variations on a Norwegian Folk Song in G minor, Op. 24
Musical nationalism refers to the use of musical ideas or motifs that are identified with a specific country, region, or ethnicity, such as folk tunes and melodies, rhythms, and harmonies inspired by them. Musical nationalism can also include the use of folklore as a basis for programmatic works including opera.
Although some evidence of the trend can be seen as early as the late eighteenth century, nationalism as a musical phenomenon is generally understood to have emerged part way into the Romantic era, beginning around the mid-nineteenth century and continuing well into the twentieth. It initially began as a reaction against the dominance of "German" music (that is, the European classical tradition) and later developed alongside the growing movements for national liberation and self-determination that characterized much of the 1800s.
It should also be noted that musical nationalism is a term often used to describe non-European twentieth century music as well, in particular that originating in Latin America.