Work: Lyric Pieces (Volume I) Op.12 by Edvard Grieg
Performed by: PianoExplained
Instrument: Yamaha P125 Digital Piano
Playlist:
0:00 - 1. Arietta
1:13 - 2. Waltz
3:05 - 3. Watchman's Song
5:38 - 4. Fairy Dance
6:44 - 5. Popular Melody / Folk-Song
7:56 - 6. Norwegian Melody
9:01 - 7. Album-Leaf
10:25 - 8. National Song
Grieg is one of the most well-known Norwegian composers in the Romantic era. Although he was most famous for his concertos for piano and harp at the time, he was also very well-known for publishing pedagogical pieces, and Lyric Pieces (Volume I) Op.12, published in 1867, is one of them. Overall, this collection is melodic and approachable, and the harmony is not complex. Each piece can be played separately, as there is no central theme, and the pieces are not connected in any way.
No.1 Arietta is arguably the most well-known in this collection. Other than the fact that it has been included in the ABRSM and RCM exam syllabi, this piece's melodic line at the top voice is simplistic, yet beautiful. The repeated notes exude emotion, and the flow is natural and thought-provoking. The middle voice, which consists of arpeggios, helps pace the music by adding an underlying water-flowing layer beneath the melody. The lower voice provides gentle but firm support that helps anchor the music each bar.
No.2 Waltz is a regal-sounding dance in A minor. One can almost imagine sitting in an upper class ballroom, watching couples dance and turn. This piece has a clear melodic line throughout without any distractions, so it is easy to follow. The B part modulates to A Major, the parallel major of A minor in Part A, and the melody moves to the left hand. This is reflective of dance routines where control is passed by one person to the other. In addition to the melody, the rhythmic pattern of this part is also very different from that of Part A, giving this part a very refreshing feeling and offering the audience an interlude.
No.3 Watchman's Song was inspired by a performance of Shakespeare's Macbeth which Grieg watched. This piece takes the form of ABA, and it portrays a normal night (Part A) interrupted by supernatural troubles (Part B). No.3 Watchman's Song is the only piece in this lyrical collection that contains any kind of eeriness, thus making it stand out. Containing 8 septuplets, this piece is also great for any piano students learning complex rhythm.
No.4 Fairy Dance has an out-of-the-world feeling to it. The music overall, as suggested by the piece's name, sounds like a celestial dance. A light touch is required for most of the piece in order to recreate an image where tiny fairies are dancing and buzzing around in a fantasy world. The staccato in Part A is light, and it sounds like the shimmers on a fairy's wings. As for the gradual ascend and crescendo in Part B, while exciting, the music is still lighthearted without tension.
No.5 Popular Melody / Folk-Song is a composition ahead of its time, in my opinion. Having a very modern-sounding melody that one can sing to, this piece is fashionable and classy. Employing complex rhythmic patterns, the music leaves a strong impression on its listener. I especially like the triplets and acciaccaturas, mainly because of their unconventional placements in unstressed beats. This is such a simple and slight change, but it adds so much colour to the piece.
No.6 Norwegian Melody is a powerful piece with pedal points that last multiple bars. The motif is written in the style of Norwegian folksong, and it shows that Grieg had deep knowledge in the subject and how it can be incorporated into his own music. While the melody tends to inch downward in Part A, when Part B starts, it overturns everything, and the melody ascends an octave. This contrast is so sharp but subtle at the same time that one cannot help but think that Grieg did this intentionally.
No.7 Album-Leaf is a piece with a simple ABABA structure. In my personal opinion, this piece is the most impressionistic, as one can easily imagine a person taking a happy brisk walk (part A) and occasionally stopping to view the surrounding scenery (part B). It is imperative that the pedalling in Part A be treated carefully, because there are consistent leaps on the left hand that need to be connected, while the right hand has quite a few notes in staccato. In Part B, the melody moves over to the left hand and becomes relaxing instead of joyful and light.
No.8 National Song is a curious one, being the only piece in the collection where the A part does not return at the end. Solid chords dominate the piece, giving it a majestic feeling, but at the same time, posing a challenge to the piano player as they need to be voiced carefully so that a coherent melody could be formed. Overall, the piece sounds confident, doubtless, and forward-looking.