Here is Grieg’s Melody, Op. 47 No. 3, a small gem of a piano piece hidden amongst his huge collection of Lyric Pieces:
History
One of the Romantic era’s leading musicians, Norwegian pianist and composer Edvard Grieg (1843-1907) helped shape the face of classical music. His use of Norwegian folk styling and themes in his music sets him apart from other composers of the time; Grieg helped establish the Norwegian musical identity, and he continues to inspire musicians around the world.
*Fun fact: Grieg met Russian composer Tchaikovsky for the first time in 1888, who praised him highly:
“What warmth and passion in [Grieg’s] melodic phrases, what teeming vitality in his harmony, what originality and beauty in the turn of his piquant and ingenious modulations and rhythms, and in all the rest what interest, novelty and independence! If we add to this that rarest of qualities, a perfect simplicity, far removed from affectation and pretense . . . it is not surprising that everyone should delight in Grieg.”
Lyric Pieces is a collection of 66 pieces for solo piano written by Grieg and published in 10 different volumes spanning from 1867 to 1901. Op. 47 consists of seven lyric pieces, most of which were composed sometime between 1886 and 1888.
Analysis of Melody, op. 47 no. 3
Grieg’s style is known for being widely expressive and lyrical. Melody certainly fits this description. The theme is a slow, descending scale (0:02) that, after settling in the dominant (an E Major chord) for two measures, it suddenly leaps up to a high F before slowly descending again (0:19).
Then the melody flips on itself; at 1:03 the scale starts ascending as the key modulates to F Major (first appearing on a B-flat Major chord, which happens to be the Neapolitan chord of A minor). After the whole composition repeats itself, the piece ends softly on an A Major chord.
A steady ostinato rhythm in the left hand supports the theme. Perhaps this represents persevering through sadness or a continuous heartbeat through pain. The first (and only) respite from the plodding rhythm occurs at 3:17 where the piece ends (in A Major).
Some Music Theory
One thing that strikes me about this theme is the chord progression. It travels from A minor to an A minor 7th chord, which interjects a bittersweet note in the otherwise sad theme. Grieg sprinkles minor 7th chords throughout the piece to give it that tinge of emotion.
What does Melody make you think of?
One of my favourite pieces.. interesting I first heard a transcription recorded by guitarist Segovia. Truly remarkable composition by Mr. Grieg ..! Your interpretation is quite lovely.
Thank you! I bet that guitar transcription is lovely, I’ll have to go listen to it. This is such a beautiful piece.
I love the way you bring out the melody and it’s dynamics, and also the way you play the arpeggiated minor chords. I am learning this piece and was first just concentrating on the harmonies. Do you have any tips on practicing it?