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Norwegian suite
Original Title
Grieg, Edvard
Carr, Cynthia
Year Arranged
Original Instrumentation
MW Publishing
Year Published
Catalogue Number
Sheet Music Format
A4, Score (17) & parts (8x3=24)
Additional Equipment
Straight mutes
Other Instruments
Structure / Movements
3 pieces: I Prelude from Holberg suite op.40 II The last spring from Elegiac melodies op.3 no.2 III Rotnams - Knut from Album for baritone and men's voices op.30
Treble, bass
C, 4/4
Key signatures
None, 1#
Choir I Horn 1: d1 - g2 Horn 2: d - g2 Horn 3: d - f2 Horn 4: G - e2 Choir II Horn 1: d - g2 Horn 2: d - g2 Horn 3: c - g2 Horn 4: G - e2
Creator's Comments
Norwegian Edvard Grieg (1843-1907) is one of Scandinavia's most beloved composers. He was instrumental in developing a Norwegian national musical style in the latter part of the 19th century. Grieg's music is primarily straightforward and clear in form, with lyrical, folk-like melodies. While he excelled in writing for voice and piano, his Peer Gynt Suite for orchestra is perhaps his most widely known work. The Norwegian Suite incorporates both vocal and instrumental music from the early and middle part of Grieg's life. The first movement is form the suite "Aus Holberg's Zeit", which Grieg published in versions for either solo piano or string orchestra. The second movement is from a set of piano works, and the final movement is from a choral work. Rotnams-Knut was a Till Eulenspiegel-type character of Norwegian legend: a prankster always getting into trouble. I have scored this work for two choirs, in the tradition of Verne Reynolds, wonderful Cantos arrangements, which I came to know in the Eastman Horn Choir under Reynolds, director. The parts can be doubled; if so, the "Solo" marking would indicate one on a part. I envision the two choirs slightly separated in performance.
Performance Notes
Contrary to the comments above, there is frequent combining of the two choirs, rather than keeping them apart. Especially the low parts (horns 4 in both choirs) often join forces to provide the bass for the ensemble. There is also occasional melody doubling in the first horns. Other than that it's a straight forward transcription of three beautiful works by Grieg, bringing a bit of Scandinavian flavour into the repertoire.
Access to review score: Nancy Joy (NMSU)