Vis enkel innførsel

dc.contributor.authorMattes, Arnulf Christian
dc.date.accessioned2021-05-18T12:19:58Z
dc.date.available2021-05-18T12:19:58Z
dc.date.created2020-10-09T13:54:55Z
dc.date.issued2020
dc.PublishedStudia Musicologica Norvegica. 2020, 46 (1), 25-40.
dc.identifier.issn0332-5024
dc.identifier.urihttps://hdl.handle.net/11250/2755485
dc.description.abstractBetween 1903 and 1906, Edvard Grieg recorded several of his most popular pieces on piano rolls and gramophone discs for commercial use. Like many of his peers, Grieg, as a composer and virtuoso, grasped the opportunity of the new century’s technology for disseminating his music outside concert halls for broader audiences. The remastered release of Grieg’s collected recordings from 1992 by the label SIMAX offers a unique access to Grieg’s performances of his own works. The overall issue, what a modern listener might learn from a historical audio document like this, will be addressed in the examination of a selected track on the historical recording: the ‘Norwegian Bridal Procession’ (Brudefølget drar forbi), No. 2 in Pictures from Folk Life, Op. 19, belonged to his most popular pieces and was recorded by Grieg both on piano roll and gramophone disc. Opus 19 is a cornerstone of Grieg’s ‘national romantic’ aesthetic, and marks the beginning of a fruitful period of music-dramatic cooperation with Bjørnstjerne Bjørnson, from the 1870s on. Grieg’s recordings have, as any other mechanical sound reproduction, their interpretive limitations. However, they provide unique insight into what is the most emergent of all historical sources, musical performance, when analysed carefully and combined with other sources of information, such as musical sketches, scores, the composer’s and his contemporaries’ testimonies, or concert reviews. Moving from generic features of Grieg’s performance style to the individual peculiarities of his interpretation, the aim of this inquiry is to enable a new understanding of Grieg’s performance practice as deeply related to the aesthetic conception of music as musical poetry.en_US
dc.language.isoengen_US
dc.publisherUniversitetsforlageten_US
dc.rightsNavngivelse-Ikkekommersiell 4.0 Internasjonal*
dc.rights.urihttp://creativecommons.org/licenses/by-nc/4.0/deed.no*
dc.titleWhat Else Can Grieg’s Historical Recordings Tell Us? Performance Practice as Musical Poetryen_US
dc.typeJournal articleen_US
dc.typePeer revieweden_US
dc.description.versionpublishedVersionen_US
dc.rights.holderCopyright 2020 Author(s).en_US
cristin.ispublishedtrue
cristin.fulltextoriginal
cristin.qualitycode1
dc.identifier.doi10.18261/issn.1504-2960-2020-01-04
dc.identifier.cristin1838495
dc.source.journalStudia Musicologica Norvegicaen_US
dc.source.4046
dc.source.141
dc.source.pagenumber25-40en_US
dc.subject.nsiVDP::Musikkvitenskap: 110en_US
dc.subject.nsiVDP::Musicology: 110en_US
dc.identifier.citationStudia Musicologica Norvegica. 2020, 46 (1), 25-40.en_US
dc.source.volume46en_US
dc.source.issue1en_US


Tilhørende fil(er)

Thumbnail

Denne innførselen finnes i følgende samling(er)

Vis enkel innførsel

Navngivelse-Ikkekommersiell 4.0 Internasjonal
Med mindre annet er angitt, så er denne innførselen lisensiert som Navngivelse-Ikkekommersiell 4.0 Internasjonal