Grieg's Piano Sonata Op. 7, was composed during the course of eleven days, in the spring of 1865, the period of his first Violin Sonata, Opus 8 in F major. He tells us that he took both works with him to the Danish composer, Niels W. Gade , who at the time was one of Europe's most famous authorities on music. It is not surprising that the Piano Sonata, published by Breitkopf & Härtel in Leipzig in 1866, was dedicated to Gade.
One sees strong similarities between Grieg's sonata and Gade's Piano Sonata, Opus 28. We also find Gade’s strong personal harmonic and melodic traits where we notice that the melodic material is emphatically subordinated to the harmonic, a trait which would influence much of Grieg's music. No matter how hard he tried, Grieg never managed to create a uniform synthesis of his folkloric interest and inclination, and the classic cyclical forms. This may have been one of the reasons why he did not feel comfortable with the compositional form, and framework of the sonata. At times he regarded this as a set-back. For posterity, it is more correct to look at Grieg’s cyclical compositions as proof that it is impossible to unite a folk-music principle, which is built up of repetitive patterns without real development; with a classical or romantic form principle, where the thematic-dramatic development is in focus. At the same time it is this conflict between the two spheres that makes Grieg's cyclical compositions so distinctive, fresh, and, even today, so alive.Notes by Einar Steen-Nøkleberg
Classical Music | Piano Music
Edvard Grieg
Piano Sonata in E Minor, Op. 7 Play
Recorded on 12/04/2019, uploaded on 06/26/2020
Musician's or Publisher's Notes
I.Allegro moderato
II.Andante molto
III.Alla Menuetto, ma poco più lento
IV.Finale: Molto allegro
Grieg's Piano Sonata Op. 7, was composed during the course of eleven days, in the spring of 1865, the period of his first Violin Sonata, Opus 8 in F major. He tells us that he took both works with him to the Danish composer, Niels W. Gade , who at the time was one of Europe's most famous authorities on music. It is not surprising that the Piano Sonata, published by Breitkopf & Härtel in Leipzig in 1866, was dedicated to Gade.
One sees strong similarities between Grieg's sonata and Gade's Piano Sonata, Opus 28. We also find Gade’s strong personal harmonic and melodic traits where we notice that the melodic material is emphatically subordinated to the harmonic, a trait which would influence much of Grieg's music. No matter how hard he tried, Grieg never managed to create a uniform synthesis of his folkloric interest and inclination, and the classic cyclical forms. This may have been one of the reasons why he did not feel comfortable with the compositional form, and framework of the sonata. At times he regarded this as a set-back. For posterity, it is more correct to look at Grieg’s cyclical compositions as proof that it is impossible to unite a folk-music principle, which is built up of repetitive patterns without real development; with a classical or romantic form principle, where the thematic-dramatic development is in focus. At the same time it is this conflict between the two spheres that makes Grieg's cyclical compositions so distinctive, fresh, and, even today, so alive. Notes by Einar Steen-Nøkleberg
More music by Edvard Grieg
Violin Sonata No. 1 in F Major, Op. 8
Solveigs Sang, Op. 23, No. 19
Holberg Suite, Op. 40
In the Hall of the Mountain King, from Peer Gynt Suite
Sonata for Violin and Piano op.45, mvt. 3
Sonata for Violin and Piano in c minor, Op. 45
In the Hall of the Mountain King, from Peer Gynt Suite
Sonata for Violin and Piano in c minor, Op. 45
String Quartet in G minor, Op. 27
Once Upone a Time (arr. Fourmeau)
Performances by same musician(s)
Polonaise-Fantaisie, Op. 61
Malagueña, from Suite Espagnole
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