In 1880, Edvard Grieg composed a cycle of songs for voice and piano (12 Melodies, Op. 33) primarily based on the poetry of fellow Norwegian nationalist Aasmund Olavsson Vinje (1818–1870).
A 12 months later, Grieg transcribed two of the songs, The Wounded Coronary heart (Hjertesår) and The Final Spring (Siste vår), for string orchestra underneath the title, Two Elegiac Melodies, Op. 34. Divided into a number of shimmering traces, and preserving the pure rhythms of speech, the scoring takes the type of a string choir. The 2 actions are transient and poignant.
Set in C minor, the verses of Wounded Coronary heart (Allegretto espressivo) unfold as a sequence of wistful and more and more passionate variations. The textual content speaks of a permanent religion which has survived the injuries and struggles of life.
Shifting to G main, The Final Spring is crammed with a way of quiet nostalgia. The poem displays on the fantastic thing about the panorama in early spring after the melting of snow. The narrator is aware of that he won’t dwell to see one other spring. There are hints of the brilliant colours of Wagner’s Prelude to Lohengrin. In the end, it’s music firmly rooted in Scandinavia by a composer who was a grasp of sensuous melody and the elegant miniature.
I. Wounded Coronary heart (After Op. 33/3):
II. The Final Spring (After Op. 33/2):
Recordings
- Grieg: Two Elegiac Melodies, Op. 34, Neeme Järvi, Gothenburg Symphony Orchestra Amazon
Featured Picture: “Winter on the Sognefjord” (1827), Johan Christian Dahl
