Bøker av Edvard Grieg

"Die 10 Hefte Lyrische Stücke repräsentieren ein Stück intimerLebensgeschichte", schrieb Edvard Grieg 1901 an Henri Hinrichsen, den Inhaber desMusikverlages C. F. Peters. Im Gedenken an das 100. Todesjahr (2007) des norwegischenKomponisten wurden die für Grieg so bedeutsamen 66 Lyrischen Klavierstücke neu aufgelegt.

Edition in accordance with Edvard Grieg: Complete Works (Volume I) edited by the Edvard Grieg Committee, Oslo.Lyrische Stücke für Klavier, Heft 1 op. 12Ausgabe nach der Edvard-Grieg-Gesamtausgabe (Band I). Herausgegeben vom Edvard-Grieg-Komitee, Oslo.

Lyrische Stücke für Pianoforte. Heft VIII, Op. 65, No 4-6 ist ein unveränderter, hochwertiger Nachdruck der Originalausgabe aus dem Jahr 1897.Hansebooks ist Herausgeber von Literatur zu unterschiedlichen Themengebieten wie Forschung und Wissenschaft, Reisen und Expeditionen, Kochen und Ernährung, Medizin und weiteren Genres. Der Schwerpunkt des Verlages liegt auf dem Erhalt historischer Literatur. Viele Werke historischer Schriftsteller und Wissenschaftler sind heute nur noch als Antiquitäten erhältlich. Hansebooks verlegt diese Bücher neu und trägt damit zum Erhalt selten gewordener Literatur und historischem Wissen auch für die Zukunft bei.

Grieg's orchestral setting of five of his 6 Lyric Pieces, Op.54 for piano actually started with an orchestration made of Nos.2, 3, 4 and 6 by Anton Seidl (1850-1898), then conductor of the New York Philharmonic, for an 1894 concert under the title Norwegian Suite. In 1905, the composer obtained a copy of Seidl's score and set about re-working the orchestration of the four numbers above and added his own of the first number from the piano original, ultimately subtracting No.6 (Klokkeklang = Bell-Ringing) before publication. The orchestral setting was thus published with only 4 movements and given its premiere by the Concertgebouw Orchestra in Amsterdam in April of 1906 with the composer conducting. This newly engraved edition by Richard W. Sargeant, Jr. is based upon the composer's manuscript and the first edition full score issued by C.F. Peters in late 1905. The editor has included the Grieg's orchestration of No.6 as an optional second movement.

Edvard Grieg 23 Little Piano Pieces EG104 (1858-1859) A selection of short pieces for solo piano. First published in 1859, these early pieces by Norway's most celebrated composer offer an insight into the beginnings of his style.

When the Norwegian composer Christian Sinding introduced his young friend Frederick Delius (1862-1934) to Edvard Grieg (1843-1907) in Leipzig in 1887, it was to be a memorable occasion for each of them. Delius in particular was later to write of this first meeting with Grieg with great fondness and affection: 'I was very proud of having made his acquaintance, for since I was a little boy I had loved his music. I had as a child always been accustomed to Mozart and Beethoven and when I first heard Grieg it was as if a breath of mountain air had come to me.'. It was, for both men, the beginning of a long and deep personal friendship that, despite the inevitable vissitudes of time, survived until death was to claim each of them. Of all Grieg's English friends, Delius was by far the closest; and Grieg, in turn, played an important role in Delius's development both as a man and a composer. A contributory factor to their friendship was Delius's profound commitment to and interest in Norway even before he met Grieg. Throughout his life he was drawn to Norway's breathtaking landscape, its literature, its art and the character of its people. Much the larger part of many letters exchanged between Edvard and Nina Grieg and Frederick Delius, usually conducted in German, has remained unpublished until today. Now, for the first time, the entire correspondence, with the fascinating insights which it offers into some extraordinary lives, has been brought together and arranged in chronological order and widely commented upon. Dr Lionel Carley, adviser and archivist to the Delius Trust and author of four books on Delius, has thus created a biographical double portrait. As well as revealing a wealth ofopinions and comments upon the music and manners of their contemporaries and a varied discussion of the many problems involved in the labours of composition, Grieg and Delius offer a singular number of glimpses into their deep, and occasionally troubled, emotional lives. Deliu