Schirmer's Library of Musical Classics 3 Vols. 106, 107 EDVARD GRIEG FORTY-FIVE PIECES FOR PIANOFORTE 1N TWO VOLUMES SELECTED, EDITED AND FINGERED BY LOUIS OFSTERLE Vou. t CONTAINS A BIOGRAPHICAL SKETCH OF THE RICHARD ALDRICH NEW YORK : G. SCHIRMER BOSTON : BOSTON MUSIC CO. 1902DVARD HAGERUP Gxiec is one of the most striking figures among those latter day composers who have worked zealously toward the ideal of nationalism in music, Before him came Chopin, Liszt, Gade and Smetana ; and Dvorik and a host of lesser men have taken up the idea of embodying in their music the quali- ty and color of the folk lands, “But none have more thoroughly identified themselves with the cultic lect of the common people, or transfused the spirit of popular music so undiluted into the sophisticated forms of art, as Grieg. None have succeeded in putting themselves so completely under the influence of that spirit, as he. Grieg’s training was gained in the severe school of Leipzig conservatism. Born at Bergen, Nor: way, in 1843, he was the son of a mother gifted and cultivated jn music, who was his first teacher in the art, Ole Bull’ saw the boy, and recog- nized in him a musician's talent; and by his advice he was sent to the Leipzig Conservatory. He entered it in 1858 ; the traditions of Schumann and Mendelssohn had not yet disappeared there, but there was already a spirit of progress in the institution, a sympathy with new ideals in art that the ingrained conservatism of the place could not keep down. The chief influence that swayed Grieg’s musical nature and turned him toward the ‘Scardinavian spirit was the young Norwegian com- poser, Rikard Nordraak, whose premature death cut short a promising career. He it was who began the crusade, as Grieg himself has written, directed against “‘the effeminate Mendelssohn: Gad= Scandinavianism, turning with enthusiasm into the new well-defined path, along which the Northern School is now travelling.” He it was who first opened Grieg’s eyes to the possibilities of the folk-music of their native land, as the foundation for a new movement in music. Grieg was but 19 years old when he left the Conservatory at Leipzig. He made further studies in Copenhagen, under Gade, and also came under Hartman's influence, “He visited Italy, the first ‘of anumber of artistic pilgrimages that he has made of service in spreading the knowledge of his com- positions. But otherwise, his life has been quite uneventful, and has been spent chiefly in his na- tive land as composer and conductor. In 1867 he founded a Musical Union in Christiania, which he conducted till 1880; and he has for some years beer the conductor of the Philharmonic Concerts in that capital, though he has made his home in rieg’s earliest published compositions show little trace of his devotion to Scandinavian ideas they are a set of four little plano pieces“ dedicated to his revered master, Wenzel,"" in which the para- Tpount influence i plaialy’ that of Sehumuna hough they are hot without a certain venturesome that gives them an individuality ‘of ther Sevefal of his carliest songe, too, show Ills of the chavacter that we now generally ao: late with Grieg. In the set of litle pieces, op. 4 the Norwegiar'color is fist disclosed. thevgh sul in a tentative way. These works are all dated before "sos. “In the "next “publications that appeared from Grieg’s pen, the “« Humoresken,” ope, we find the young’ colpposer fully lounched hon his change of style.” Tenceforth he vas to bea Norwegian frst and then a musician, and to emblazon his nationality upon his work so clearly Sint shouldbe im ne. doubt. The © Humercs tien" show, instead of the tender sentiment and meliftuous’ grace of Grieg's earliest pleces, a cer: tain energy Sad’ grim viger that at tines verge on harshness” In these, and still more In’ many cf the pleces that follow them, there ia tinge of intense melancholy the sadness and the tough humor, by turns, of a people oppressed by the rigors of the north, confronted unceasingly with the gloom of mountain and fjord and deep forest. ‘The boisterous “ Halling” and the "' Springtanz,"* the mournfulness of the peasant songs, reappear these little piano pieces, and through them all runs, the strange, harsh coloring of the Scandinavian music. There are certain melodic turns and inter- Vals that we have learned to recognize as charac- teristically Scandinavian, and certain well-defined harmonic progressions that seem to be a necessary and logical Basis for these, melodies, Withel There I often an insinuating grace and» lyric harm of indescribable quality if ach of Griggs music, that take us to the sunny delights of breezy mountain pastures,” Bat" whatever itn, mood, Gncg’s muste always unmistakably his own, and unmistakably Norse in its essence. Gricg is cascntially a worker in miniature, His genius finds its most characteristic and congenial Expression in the smaller forme—in the song anc short iyrc.pleces for the pranoforte, ts whic cts giveninost of his attention, Hehrs written tore chtenalve compoditions—s piano concerto, piano sonata, a string quartet, a'concert overture Fer orchestra orchestalentr acte muse for Ibsen's ply of "Peer Gyat.” and several choral works Tinty have achieved a varied measure of success: but fo general it may be said that the limitations impliedin the lyre quality of his genius are almost alwaye in evidence in his efforts at more extended fights, Te does not move fecely or boldly in the Iniger forms he lacks the broad sweep aad. the power of logical and conclusive development of Fis'tmusical material needed for. snccese in them. Batt hig own way he fas crested a new grvre ta arty and has added much to the resources of tusie that has won, ay it seems, a permanent place in the aflections of musi lovers, Rican Avorich, ovyright on by 6. Schirmer,Edvard Grieg: Forty-five Pieces for Piano CONTENTS OF VOL. I. Albambiad (Album-leaf) Albumbiat (Albamleat), op. 12, No, 7 Bereeuse (Lullaby), op. 38, No. Dance-Caprice, op. 28, No. 3 Blusamer Waudeier @olltary Wanderer, op. 43, Nov = Elegie, op. 38, No. 6 op. 47, No. 7 Etemtanz (Elfin Dance), op. 12, No, 4 Feuille d’Album (Album-leafy. op. 47, No. 2 Grossmutters Menuett (Grandmother's Minuet), op. 68, No. 2 Humoreske, op. 6, No. 3 Inder Heimath (At Home), op. 43, No. 3 Klokkeklang (Ringing Bells), op. $4, No. 6 Matrosenlied Sailor's Song), op. 68, No. 1 Melancholie, op. 47, No. § Normegisch (Norwegian Melody), op. 12, No. & Papillon (Buttery) op. 43, No. 7 Poetle Tone.Pietres, ops 3 No.4 one ee ayen Springtanz (Skip-dance), op. 38, No. § Volkeweise (Polk-song), op. 38. No. 2 oe op. aa, No. § ‘Wichterlied (Watchman's Song), op. 12, No. 3 Walzer (Walta op. 12, No. 2 “op. 38, No. 7 ‘Zu deinen Fassen (At Tay Feet), op. 68, No. 3 CONTENTS OF VOL. I, Albumblatt (AIbum-eaf, op. 28, No.1 wo op. 28, No. 2 op. 28, No. 4 dn den Pehling (To Spiap op 4, No. 6 ‘An der Wiege (By the Cradle), op. 68, No. 5 Canon, op. 38, No. 8 Brotik (Pome érotlque), op. 43, No. $ Herzwunden (Heartsores) op. 34, No. 1 Humoreske, op. 6, No. 2 Letater Fring (The Last Spring), op. 34, No. 2 Metodie, op. 38, No. 5 Norwegischer Brautzag (Norwegian Bridal Procession) op.19, No.2 Nottarno, op. 54, No. ¢ Scherzo, op. No. § Springtans (Norwegian Dance), op. 47, No. 2 ‘Teauermarsch (Funeral March) Valse-Impromptu, op. 47, No. 1 Valse mélancolique, op. 68, No. 6 Voglein Biedling), op- 43, No.4— Albumblatt. (Album-leaf.) Op.12, Nez. Allegretto e dolee. fA . 2 (55 a Copyright, 1904, by @.Schirmer. mae1248346 3 inaVolksweise. (Folk-song) 0p.38,N2R. Allegro con moto.(d = 11a) %& 4 3 patenpo _—__. = a a dime rit. =Grossmutters Menuett. Edited and fingered by ’s Mi coe (Grandmother’s Minuet.) Allegretto grazioso e leggierissimo. Op. 68, Nee. ae poco rit. 7 oe eet . “e = Za. “a pyritht, 1904, y ©. Schirmer. - Copyright, 1901, by 6. Schcan moto an poco stretto un poco rit. 5 insazrsa10 Matrosenlied. Elited ant fingered by (Sailor’s Song) Tours Gesierte 0p.68, N03. Allegro vivace e marcato. a 5 > => = Jf 4, Copyright, 1904, by Schirmer isa,15592 a 5 a tempo ma ben ten. aoe a tempo ia ben ten. ma ben ten > > poco a|poco ritard. = = = zt TF Ba, SSeS =o fete Y %Volksweise. (Folk-song:) Op. 12, NOB. Con moto. issazwesWalzer. (Waltz.) Op. 12, Nox. Allegro moderato. : snpaesae faNorwegisch. (Norwegian Melody.) Presto marcato. op-12,N26. dey, ad: 4 \ i50272 Wichterlied. (Watchman’s Song.) Edited and fingered by Inspired by a performan shakespeare’s Macbeth ices ocaieri a ut (he ume ae ee Op.12, Nes, Molto andante © semplice. Intermezzo. Geister der Nacht. (Spirit af the Might.) a bp = Pa 7 + Copyright, 1901, by @.Schirmer. 8502sneae20 Elfentanz. (Elfin-Dance.) ‘Op.12,N04, Molto allegro © sempre staceato. 5 _ = ae i u i = 1550210502R22 Springtanz. (Skip-dance) Op.38, NO5. a. 2.—__ ~~ Allegro gioeoso.(d = 60) p leggicro 223 innaElegie. Allegretto semplice.(J = x0) Op. 38, N26, —> eantabile s _ issaz25 cantabile26 Walzer. (Waltz.) Poco alleg = ritard. Ra" Presto.d-= 108) tag27 Tempo I. 12 ritard. ssna228 Allegretto con grazia. _Humor eske. a “ Paty sa woae z 7Poetic Tone-Pictures. we 4) Andante con sentimento. 6 S Pam | ch | S| om re 230 tnnae Poetic Tone -Pictures. (vos) ‘Op. 3, N05. _ Allegro moderato. a 12a 12 us zs 231 7 i Lia 2 Ve t This ited. | Z : 4 t8haz = fae Sa Sa, 121834632 Klokkeklang. (Ringing Bells.) Edited and fingered by Louis Oesterle Op. 54, N26. Andante. 5 = - % \ / pp sempre - con Ba, Ba Ra, erese. poco a\ poco Fa Sa, Fa isons Copyright, 1904, by @. Schirmer.dimin. molto e poco ritard. - e * “th P01 ath — ote) atl 1191 15592 +e34 Op.47. N07. Poco andante 4 Pla melodia ben tenuta = a. simile = = >= Fa ‘Ba. erexc._ed agitato35 poco mosso =36 Berceuse. Edited and fingered by Max Vogrich. Allegretto tranquillo. EDVARD. GRIEG, Op38.N04, 8 3 be. P sae * mm Ha : Sa, Copyright 1887 by G. Schirmer. Ba,Con mote. 2 = BT a ta 4 a3 See =< we pire corde. $650239 Papillon. Revised and fingered by W2 Scharfenberg. (Butterfly) Allegro grazioso. (¢ = 182) Op. 48,N01, 5 ‘sone Copyright, 1887; by @ Schirmer.Sa. Sa Sa Fa. a tempo ao fens dolce con moto & poco stretto tre corde asa teyp ina corda Ray crese. poco a poco & poco stretto tre corde Ga. * of Sa42 Dance- Caprice. Op. 28, N2 3. = eas sa 8 Vivace. Piano. poco stretto a tempo nF : —ttretto zk sspazdimin. @ rit. - soa44 dotciss. 3 be sssaetasaa46 Einsamer Wanderer. (Solitary Wanderer.) Edited and fingered by Louis Oesterle Op.43, Nox, legrett lice. (= 16) Allegrotto semplice. (=u) — Piano. creac. ¢ stretto fa — Ga & a *# Ta Copyright, 1904, by & Schirmer.a7 poco rit, - ae * Ga @ tempo oe_ In der Heimath. ( Edited and fingered by ‘At Home.) Louis Oesterte. J Op. 43, N03. (hye ty >) DTS Piano. | pla melodia ben tenuta i_mosso Copyright, 1904, by G.Schirmer. sw5azTem & po I. sees ee ta - f ritard.———| P Fi50 Mélancolie. Op. 4, NOB. ten. aS un poco piie mosso prt crese. seme Fa Fa.Pa. Sa Ba, SE poco pit mossn molto 4 tempo = |p De t559252 Zu deinen Fiissen. (At thy feet.) EDVARD GRIEG. Op.68, N¢3. Poco andante e molto espressivo. cantabile — ae —= | S| overs, e dim. molto Copyright, 1904, by 6. Schirmerpoco ritard. PP; Pit mosso. 3 (Pp cantabile ae a ta. * a a aA stretto “3 aac (_==_ ——— ~~ ow —— _—>— tae * ea,54 a tempo, ma agitato 5 a crese. ¢ string. pitt erese. @ molto appassionato 2 2 a fan “ta Pedal sempre 000 FE. > Tempol. cantabile e ben ten. Is5a235 poco a poco ritard, Bay By innag,56 Feuille d’ Album. (Album -leaf.) Op.47, NOR, Allegro vivace e grazioso. ree pre doles cantabile nf —_>— Pa. -_ 7 s5502doleiss. 1) pp una corda oh tre corde se poco rit. * : a tempo —,_ ——————— a 4 z we ~ { orese. Ra: Albumblad. Bited and fingered (Album -leaf.) by Lois Ovsterte Un poco andante. Edvard Grieg. = = lsat sempreconTa * fa Be Ba, : ritard. a pit F a Ra. Ba. Ba. * aninato. = Sa ® 7 2 a= ss oN el p ferese. molto, 5 ———| ¥ molto crest | ritara.' ltr Pr [py motto legato R $ oa RE i Ba Gae Ga Rak a Copyright, 1902, by G.Schirmer61 Tec ee a tempo cy = * oe sk aa fa. SS co _ wo OE PR fo crese. molto va 2Schirmer's Library of Musical Classics 3 Vols. 106, 107 EDVARD GRIEG FORTY-FIVE PIECES FOR PIANOFORTE IN TWO VOLUMES SELECTED, EDITED AND FINGERED BY LOUIS OESTERLE RICHARD ALDRICH NEW YORK : G. SCHIRMER BOSTON : BOSTON MUSIC CO, 1902Edvard Grieg: Forty-five Pieces for Piano CONTENTS OF VOL. I. ‘Albumblad (Album-teaf) ‘Atbumbiate(Albumlea), op. 12, No, 7 Berceate (Lullaby), op. 38, No. t Dance-Caprice, op. 28, No. 3 Einsamer Wanderer Solitary Wanderer, op. 43, No. 2 Elegie, op. 38, No. 6 op. 47, No.7 Elfentant (Elda Dance), op. 12, No.4 Feuille d'Album (Albureteat)y op. 6, No. 2 Grossmutters Menuett (Grandmothers Minuet), op, 68, No. # Humoreste, op. 6, No. 3 Tn der Heimath (At Home), op. 48, No. 3 Klokkeklang (Ringing Bells), op. 34, No. 6 Matroreniied (Sailor's Song), op. 6 No. Melancholie, op. 47, No. § Norwegisch (Norwegian Melody), op. 12, No, 6 Papillon (Butterfly), op. 43. No. 1 Poetic Tone-Piewres, op. 3, No. 4 cadrmiarae rate! Spcingtans (Skip-dance), op. 38, No. § Volksweise (Folk-song), op. 38, No.2 = ops ta, No. § Wikehterlied (Watehmaa’s Song), op. 12, No, 3 Walzer (Walt), op. 12, No. 2 wt 9p. 38, No.7 Za deinen Fassen (At Thy Feet), op 68, No. $ seratecel aS CONTENTS OF VOL. m1. Albumblatt (Album-leaf, op. a8, No. wo op. 38, No. 2 ” op. 38, No.4 ‘An den Friling (To Spring), op. 43, No. 6 ‘An der Wiege (By the Cradle), op. 63, No. § Canoa, op. 38, No. 8 Erotik (Potme érotique), op. 43, No. § errwunden (Heartores), op. 34, NO. 1 Mumoretke, op. 6 No. 2 Letter Fritling (The Last Spring), op. 34, No. a Melodie, op. 38, No. 3 Norwegischer Brautrug (Norwegian Bridal Procession), op.19,No.2 Noteurao, op. 54, NO. 4 Scherzo, op. s4, No. § Springtant (Norwegian Dance), op. 47, No. ‘Trauermarsch (Funeral March) Valte-Impromptu, op. 47, No. t Valse mélancolique, op. 68, No. 6 Voglein Birding), op. 43, No. ¢Springtanz. (Norwegian Dance.) Op. 47, N26into AFErotik. Love-poém. Op. 43, N05. 3 Poon = = Lento molto. «na ee —— p molto tranguillo’e dole. | == pe tenn < Ba 8 Ra. Copyright, 1998, by G. Schirmer. ge B 15543qt ¥ isa0 sempre StPer 4 Fr a. an S gitar. molto 1859pte pe tranguitlo s = aN ——— Tish yr pie mosso e sempre stretto, |—— rarer AF ritard. motto ~ be oe_| te ritard. ~ 134sVoglein. Biited and fingered by (Birdling) “Louie Desert Allegro leggiero, (4-=8s) 2 24 of 6 EDVARD GRIEG. 0p 43N04, Copyright, 4898,by G.Schirmer.10 Humoreske. Tempo di Minuetto ed energico, z . = 2molto riterd. 5 Dae sree — a tempo _ — a eee : ove oe oo 3 = ? =1 An der Wiege. OO (By the Cradle) Allegretto, tranquillamente. 0.68,N25. 4 Bs i © P cantando 4 a 4 a Sa * Sa Ta * : a 2 15598 Cofyright, 1904, by @. Schirmer= — — —~__* yy ppp poco rit. Pp a : aie 4 tempo 2 una corda Fe id oa 3 poco rit. 4 tempo a Rr ag ie 8 2 p ta melodia Ben ten, da * Fy Pedal Fine. 15593,Melodie. p Allegretto. = 223 a7 Sa Bena tempo a J ——— = —— a eqese. poco [ ee Pe 2S = ae 2 Ba *16 Canon. Allegretto con moto.(¢ - s0) = cantabile —— A jp. 38, NOB, B 78 74 ell! rimra! 7 PPP Fine x7 Pit mosso, ma tranquillo. (6 a - a > lyre iy Ga Bea, a = = = - fa, Minore Da Capo al Fine. 5543Scherzo. Prestissimo leggiero. rn res: ise leeeier Op.54, NO fled y Piano. . _ pp, ma il basso mareato una corda > 16542P cantabitei ve una eorda21 BL feroce rf =. dimin.Valse mélancolique. ‘Tempo di Valse tranguillo x? 4 2 0p.68, N26. a tempo = on oa. 5 —, : dofeiss. — 4 im poco rit, | PP « tempo Sa, * : t ? i ° Ra, fritags 3! e stretto 10688@ tempo 3 pp 2 pitt stretto Ped. sempre * 16nas24 ‘Tempo I. S a tranguillo { rit, malta Sa. Sa | a3 Z a Z — Tbe s = ot Zoe pp a tempo erese, € stretto) — Boeo rit. fe t+ Sa snale stretto Ped. sempre s559026 erese. @ tempo 16543,sana28 Herzwunden. (Heart -sores.) Op.34,NO1. Allegretto espressivo. \ oe = eae Ta melodia—" motto cantabile: rasa,be dae fa Sa. a a. Ga. Fa. AY ea Bona’ ry i I} hy" 3 “) fF marcato PP 550330 Letzter Friihling. (The Last Spring.) Op.84,NO2, Andante. 1543,31 pp molto legato una corda a 8593,Be \° pp ereso. | fit San Sa # ta Ba. ten. — fen 5 ten gg Sten ten | — z£ a23B Albumblatt. (Album-leaf.) Op.28, NOL, Allegro con moto. 7 8 ss + of senza Pedale pace rit. be “RF e “apoco mit. stretto (pg tempo ia loge? bap Za, * Ba, * tna: 35 poco ritard. atenpo 3 povo a poco P| erese. @ stretto |- un — poco | ritard. ‘ 3b a tempo Tre P poco stretty 1554336 Albumblatt. (Album-leaf.) Op. 28,NO2, 1543atempo ritard. ~ -|Lpp oP 15543Albumblatt. (Album-leaf.) pla melodia ben tenuta 1 pp dolee doieiss. 15943pp wna corda | Ya. sempre . Io. 1554340 a > i tre corde psensa Ba s5543ritard.~ ? ls # is5a34g Valse - Impromptu. Op.47,No1. ton Pedale Ba Ba, rubato 15613sempre a fa, Sa, a. ‘ta, a tempo >? =arp rubato 13043malty @ eresc. ‘ea. ea. fa, molto pit lento > & 'o cantabile 13543tranguilld wtretty molto e erese. fe = Ba, Sa ‘a, Ba. fa, ee eee rit. | molto a leantabile aoe ! | . | ! 15543Notturno. Andante. 8 oan Fe Sa, Sa Sa, = 22 2 5 aS ee seyhetsboey Gv ereades| gpa cas | poco_rit. — auc Fa ly crete: ea4sa tempoTrauermarsch (Funeral March ) in Memory of Rikard Nordraak. (Norwegian Composer, Died in 1866) Langsam. (Lento) t = ference. molto == 1 fe Saoa oa RH con tutta forsa Sa. ga Fata ta ta ¥ F i543isainaz Pp «tempo oe fa | FM RE RH fa Bax, Sa, con tutta forsa i a,An den Friihling. (To Spring:) Op. 48, N26. ~ fa z Piano. eantabile ¢ molto tennta la melodia 15509ta 24 0, # 7h . t Tz PETE stretto poco a poco |——=—— — Sa, * s6an37we | ~ : Ra so —— ae : ae = poco rit. saaagit ie z fete . pr = *60 Norwegischer Brautzug im Voriiberziehen. (Norwegian Bridal Procession) and fingered by Eowis Oesterte. EDV. GRIEG. Op.19,N2 2 e fat ta. # a. 2 32. volta una corda, itaarose. prea a poco tre cokde $3——<————————— The First Steps of the Violinist By ARTURO E. STRUTT Twelve very cary little pieces for violin, with piono accompaniment Book I. Tausx Lirvux Pisces ox rae Oren Smuinos Owe net 1 A little ballad—2 The monastery bells—8 Gondoliera Book I. Tamer Lime Pieces Using 7H Oren Sreincs Toceraaa wit 112 Fussr Fine mel 7 4 Lallaby-—s Pastorsl—6 March Book I Tasge Lirrur Pisces Usinio tx Orew Smunct Tocermex wit He Fiast ano Stoox Fixcras ‘net 1 00 ‘T Aria al'antica—s Romance—9 Mazurka Book IV. Tuner Lirmur Pisces ron THe Finst Position, Use Aut Frxcens net 1 00 410'In the swing—11 At evening—12 Serenade HESE four little books of the earliest playing material that the young violinist can expect to handle, are a unique contribution to the music of an elementary nature really valuable for the purpose. ‘The little melodies are all provided with titles that will unconsciously stimu- late the imagination of the little pupil to give simple and natural expression in his playing to the suggestions they embody, and the entire series has been planned and graded with regard for practical requirements and a sense of artistic sequence in the arrangement of the numbers. A feature deserving of special mention, and one which more than any- thing else will make the study of these pieces a pleasure for any musical child, is the tonal fulness, the interest and the real musicianly charm of the piano accompaniments. These have been written with such skill, and with such a regard for effect that, though the little player be restricted, in the main, to the four open strings, his playing is thrown into high relief and makes him feel more keenly the importance of his own part in the ensemble scheme, This distinct element of encourage ment, introduced in such a clever and unobtrusive manner, and of such decided good moral effect on the pupil's work, will not by any means be the series’ least recommendation in the eyes of the discerning teacher. ‘New York: G. Schirmer Boston: The Boston Music Co,