Monday, June 15, 2020
Grieghallen, Bergen, Norway
On Edvard Grieg’s birth-date, in 1843, the Grieghallen re-opened (following Covid-19 shutdown) with a concert of his music played to an invited audience of no more than two-hundred, at least a seat’s gap between each one; the Bergen Philharmonic looked more together although individual musicians had their own music stand and the basses were (I think) down to three.
The soulful if stirring ‘Homage March’ from Sigurd Jorsalfar enjoyed wonderfully heartfelt string-playing, (Edward Gardner moulding the music with his hands, brass and percussion adding to the ceremony, the Philharmonic rejoicing to be back.
Ørjan Matre has made Notturno (this was its premiere) from Grieg’s Lyric Piece of that name and chucked in other Grieg selections for a wacky confection whimsically scored for something fragmented/spectral/impressionistic – call it what you will – ending with the disembodied sound of a piano: if Grieg himself (dead 1907) recorded piano rolls, it may have been him, perhaps tutting at Matre’s use of percussion (I don’t forget Schoenberg orchestrating Brahms, mind). Not wishing to spoil the party, let’s just say that the over-long Notturno outstayed its welcome early on.
Leif Ove Andsnes took part in the new piece. His intrinsic virtuosity and musicianship made the Grieg Piano Concerto new-minted – you know you’re in for something special when the pianist doesn’t hurl the opening flourish at you, the first movement lively and ruminating, Andsnes musing and heroic in the cadenza. The slow movement was deeply-felt (for reasons I can’t explain I was thrown-back thirty-plus years to when Emil Gilels played the Grieg with the LSO and Colin Davis at the Proms), tears in the eyes for me from far-way but so-close Bergen, and the Finale was frisky, then sensitive, then lolloping, then triumphant. The odd pianistic smudge and orchestral uncertainty aside, this was a masterclass in how to make the familiar fresh.
Andsnes offered another Lyric Piece as an encore, tender and affectionate.
In fact Grieg cut three piano rolls for Welte Mignon, Leipzig 17 April 1906. Lyric Pieces Op.43/1, 4; and (as it’s labeled) “Norwegian bridal train passing by (Norwegian Bridal March)”, Op.19/2. All three were published in 1907. Limitations notwithstanding, Grieg liked what he’d played, preferring the medium to his earlier acoustic recording experiences, for G & T Paris in 1903. Besides Welte Mignon, Grieg also worked with the Aeolian Company in London (Autograph-Metrostyle Rolls, 1904), and cut six rolls for Hupfeld’s “Künstlermusikrollen” series, Leipzig, 11 April 1906). Today being Grieg’s birthday, here’s one of the Welte rolls, the “Norwegian bridal train”. According to the composer’s diary he was unwell at the time, and had slept little the night before. The source of this particular transfer is not given – but it’s comfortably one of the better versions around. https://www.youtube.com/watch?v=fFc3Xk5bsO0