Grieg sonata g major
Music History Review: Romantic
The Norwegian composer Edvard Grieg penned in a letter that he wrote to his friend Gottfred Mattison-Hansen on July 30, 1867, his second violin sonata “in the euphoria of my honeymoon”.1 This sonata in G major was a labour of affection that the composer wrote in honour of the love of his life Nina Hagerup, who was his cousin, whom he married despite familial disapproval on both sides. The evident happiness is reflected in the demeanour and beauty of the work. Grieg dedicated this sonata to his fellow friend, violinist and conductor, Johan Svendsen. In his letter he wrote,
“…In these three weeks I have written a new violin sonata that I am looking forward to hearing when my countryman Svendsen comes in the near future. He is the only one, in fact, to whom I dare give it. The other violinists all hate me, apparently out of envy.”2
Svendsen did come to Oslo in October that year to conduct his symphony. Influenced by the great violinist Ole Bull, Grieg realised that his should follow a path of nationalism and he began incorporating Norwegian folk idioms into his compositions.3 This sonata in particular radiates with elements of folk idioms throughout, the outer movements bear resemblance to the Norwegian folk dance either in rhythm or the drone effect of the open strings, reminding the listeners of the specially constructed fiddle known as the hardingfele, or the hardanger fiddle. The middle movement unfolds in a slow-fast-slow manner that ends with a cadenza-like flourish, which again reiterates the hardanger fiddle.4 The first movement opens with a pensive slow section aptly designated Lento doloroso by the composer, but it is soon greeted by a lively Allegro vivace section which is permeated by the characteristic rhythm of the Springar. The Springar is a couple’s folk dance with an uneven 3/4 meter usually accompanied by the Hardanger fiddle, the pulse does not always fall on the first beat of the measure. The
The Norwegian composer Edvard Grieg penned in a letter that he wrote to his friend Gottfred Mattison-Hansen on July 30, 1867, his second violin sonata “in the euphoria of my honeymoon”.1 This sonata in G major was a labour of affection that the composer wrote in honour of the love of his life Nina Hagerup, who was his cousin, whom he married despite familial disapproval on both sides. The evident happiness is reflected in the demeanour and beauty of the work. Grieg dedicated this sonata to his fellow friend, violinist and conductor, Johan Svendsen. In his letter he wrote,
“…In these three weeks I have written a new violin sonata that I am looking forward to hearing when my countryman Svendsen comes in the near future. He is the only one, in fact, to whom I dare give it. The other violinists all hate me, apparently out of envy.”2
Svendsen did come to Oslo in October that year to conduct his symphony. Influenced by the great violinist Ole Bull, Grieg realised that his should follow a path of nationalism and he began incorporating Norwegian folk idioms into his compositions.3 This sonata in particular radiates with elements of folk idioms throughout, the outer movements bear resemblance to the Norwegian folk dance either in rhythm or the drone effect of the open strings, reminding the listeners of the specially constructed fiddle known as the hardingfele, or the hardanger fiddle. The middle movement unfolds in a slow-fast-slow manner that ends with a cadenza-like flourish, which again reiterates the hardanger fiddle.4 The first movement opens with a pensive slow section aptly designated Lento doloroso by the composer, but it is soon greeted by a lively Allegro vivace section which is permeated by the characteristic rhythm of the Springar. The Springar is a couple’s folk dance with an uneven 3/4 meter usually accompanied by the Hardanger fiddle, the pulse does not always fall on the first beat of the measure. The