ContentsPreface to the revised edition viiAbbreviations x1 Folk-song to Art-song 1Translation and Interpretation 133 ‘Lillegrieg’ 254 ‘Melodies of the Heart’ 425 ‘A balanced mind, a spiritual vitality …’ 706 ‘The claim of the ideal’ 887 ‘… awakened from a long, long trance’ 1118 ‘The Mountain Thrall’ 1179 ‘The Goal’ 12310 Travels and ‘Travel Memories’ 14411 ‘Homecoming’ 1631 Haugtussa18613 ‘Music’s torch, which ever burns …’ 209Appendix A Songs by opus number or EG number 225Appendix B Songs in chronological order of composition 230Appendix C Personalia 235Appendix D Norwegian folk-song: musical forms and instruments 247Select bibliography 251General index 257Index of songs 264
To the memory of John Horton
Preface to the revised editionTo those outside Scandinavia, classical music in Norway generally means Edvard Grieg. Sadly the composer is still chiefly known to the general public only through his Piano Concerto and the two orchestral suites from the incidental music to Peer Gynt, although many pianists and singers, professional and amateur, will have performed some of his smaller works. Unfortunately, because of his lack of output in the larger forms, Grieg has frequently been dismissed as a miniaturist and, as with any composer known by a handful of popular compositions but not generally in greater depth, that very popularity is often maligned. Debussy was referring to the Elegiac Melodies– and possibly even to the famous pink covers of the Peters Edition – when he made his famous remark, ‘on a dans la bouche le goût bizarre et charmant d’un bonbon rose qui serait fourré de neige’ (in a review in Gil Blas, Paris 1903), but it is a view of Grieg’s music still all too widely held.