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Grieg: Choir Music / Pedersen, Norwegian Soloists Choir
This is an, err⊠enchanting disc of Griegâs choral music â both original and arranged for choir. The opening, resonant, full bodied choral arrangement of the popular âAt Rondaneâ, op.33, No.2 (originally for voice and piano) is plain gorgeous in its moody way. Two religious songs were prepared for mixed choir by Grieg himself of which âWithered, Fallen â At the Bier of a Young Wifeâ sounds a bit predictable, but touching in its cathedral-like piety. In this song, as in âAve, Maris Stellaâ or indeed most of the other works on this glorious sounding (multi-channel/stereo) hybrid SACD, the non-Norwegian ear will always pick up a certain preciousness, that silver-voiced, Christmas-choir touch with scents and touches of mulled wine, snow boots, and blond locks under a woolen hat.
âMargaretâs Cradle Songâ op.15, No.1, a short gem some 90 seconds long, was written in appreciation of the birth of his daughter Alexandra in 1868. It is set to the Ibsen poem of the same name and hauntingly beautiful. Alexandra, however, never got to appreciate her song; she died shortly after it was written. (Which is tragic and yet, given that it was set to something by Ibsen, also so terribly appropriate.)
Grete Pedersen, who conducts the Norwegian Soloistsâ Choir also sets the first of the Lyric Pieces op.71 âDet var engangâ for mixed choir. It might be the only miscalculation in that the result sounds nice and pleasant but also â in its dum-de-dum new-agey way â cheap.
Norway was already an independent nation when Grieg composed the 1907 Four Psalms op.74, his last work. Itâs a somber end to his musical output â with âJesus Christ is Risenâ being an especially austere, if moving, setting of this Hans Adolf Brorson text. The four psalm settings are based on a collection of Norwegian ânewer and older mountain tunesâ that Grieg wanted to help preserve with his musical adoption. He has achieved that all over again by having them included in this very fine reminder that Grieg is so much more than the Grieg of a certain mountain kingâs hall, or of lyric pieces, or a piano concerto.
-- Jens F. Laurson, WETA 90.9
âMargaretâs Cradle Songâ op.15, No.1, a short gem some 90 seconds long, was written in appreciation of the birth of his daughter Alexandra in 1868. It is set to the Ibsen poem of the same name and hauntingly beautiful. Alexandra, however, never got to appreciate her song; she died shortly after it was written. (Which is tragic and yet, given that it was set to something by Ibsen, also so terribly appropriate.)
Grete Pedersen, who conducts the Norwegian Soloistsâ Choir also sets the first of the Lyric Pieces op.71 âDet var engangâ for mixed choir. It might be the only miscalculation in that the result sounds nice and pleasant but also â in its dum-de-dum new-agey way â cheap.
Norway was already an independent nation when Grieg composed the 1907 Four Psalms op.74, his last work. Itâs a somber end to his musical output â with âJesus Christ is Risenâ being an especially austere, if moving, setting of this Hans Adolf Brorson text. The four psalm settings are based on a collection of Norwegian ânewer and older mountain tunesâ that Grieg wanted to help preserve with his musical adoption. He has achieved that all over again by having them included in this very fine reminder that Grieg is so much more than the Grieg of a certain mountain kingâs hall, or of lyric pieces, or a piano concerto.
-- Jens F. Laurson, WETA 90.9
This is an, err⊠enchanting disc of Griegâs choral music â both original and arranged for choir. The opening, resonant, full bodied choral arrangement of the popular âAt Rondaneâ, op.33, No.2 (originally for voice and piano) is plain gorgeous in its moody way. Two religious songs were prepared for mixed choir by Grieg himself of which âWithered, Fallen â At the Bier of a Young Wifeâ sounds a bit predictable, but touching in its cathedral-like piety. In this song, as in âAve, Maris Stellaâ or indeed most of the other works on this glorious sounding (multi-channel/stereo) hybrid SACD, the non-Norwegian ear will always pick up a certain preciousness, that silver-voiced, Christmas-choir touch with scents and touches of mulled wine, snow boots, and blond locks under a woolen hat.
âMargaretâs Cradle Songâ op.15, No.1, a short gem some 90 seconds long, was written in appreciation of the birth of his daughter Alexandra in 1868. It is set to the Ibsen poem of the same name and hauntingly beautiful. Alexandra, however, never got to appreciate her song; she died shortly after it was written. (Which is tragic and yet, given that it was set to something by Ibsen, also so terribly appropriate.)
Grete Pedersen, who conducts the Norwegian Soloistsâ Choir also sets the first of the Lyric Pieces op.71 âDet var engangâ for mixed choir. It might be the only miscalculation in that the result sounds nice and pleasant but also â in its dum-de-dum new-agey way â cheap.
Norway was already an independent nation when Grieg composed the 1907 Four Psalms op.74, his last work. Itâs a somber end to his musical output â with âJesus Christ is Risenâ being an especially austere, if moving, setting of this Hans Adolf Brorson text. The four psalm settings are based on a collection of Norwegian ânewer and older mountain tunesâ that Grieg wanted to help preserve with his musical adoption. He has achieved that all over again by having them included in this very fine reminder that Grieg is so much more than the Grieg of a certain mountain kingâs hall, or of lyric pieces, or a piano concerto.
-- Jens F. Laurson, WETA 90.9
âMargaretâs Cradle Songâ op.15, No.1, a short gem some 90 seconds long, was written in appreciation of the birth of his daughter Alexandra in 1868. It is set to the Ibsen poem of the same name and hauntingly beautiful. Alexandra, however, never got to appreciate her song; she died shortly after it was written. (Which is tragic and yet, given that it was set to something by Ibsen, also so terribly appropriate.)
Grete Pedersen, who conducts the Norwegian Soloistsâ Choir also sets the first of the Lyric Pieces op.71 âDet var engangâ for mixed choir. It might be the only miscalculation in that the result sounds nice and pleasant but also â in its dum-de-dum new-agey way â cheap.
Norway was already an independent nation when Grieg composed the 1907 Four Psalms op.74, his last work. Itâs a somber end to his musical output â with âJesus Christ is Risenâ being an especially austere, if moving, setting of this Hans Adolf Brorson text. The four psalm settings are based on a collection of Norwegian ânewer and older mountain tunesâ that Grieg wanted to help preserve with his musical adoption. He has achieved that all over again by having them included in this very fine reminder that Grieg is so much more than the Grieg of a certain mountain kingâs hall, or of lyric pieces, or a piano concerto.
-- Jens F. Laurson, WETA 90.9
$7.70
Original: $21.99
-65%Grieg: Choir Music / Pedersen, Norwegian Soloists Choirâ
$21.99
$7.70Description
This is an, err⊠enchanting disc of Griegâs choral music â both original and arranged for choir. The opening, resonant, full bodied choral arrangement of the popular âAt Rondaneâ, op.33, No.2 (originally for voice and piano) is plain gorgeous in its moody way. Two religious songs were prepared for mixed choir by Grieg himself of which âWithered, Fallen â At the Bier of a Young Wifeâ sounds a bit predictable, but touching in its cathedral-like piety. In this song, as in âAve, Maris Stellaâ or indeed most of the other works on this glorious sounding (multi-channel/stereo) hybrid SACD, the non-Norwegian ear will always pick up a certain preciousness, that silver-voiced, Christmas-choir touch with scents and touches of mulled wine, snow boots, and blond locks under a woolen hat.
âMargaretâs Cradle Songâ op.15, No.1, a short gem some 90 seconds long, was written in appreciation of the birth of his daughter Alexandra in 1868. It is set to the Ibsen poem of the same name and hauntingly beautiful. Alexandra, however, never got to appreciate her song; she died shortly after it was written. (Which is tragic and yet, given that it was set to something by Ibsen, also so terribly appropriate.)
Grete Pedersen, who conducts the Norwegian Soloistsâ Choir also sets the first of the Lyric Pieces op.71 âDet var engangâ for mixed choir. It might be the only miscalculation in that the result sounds nice and pleasant but also â in its dum-de-dum new-agey way â cheap.
Norway was already an independent nation when Grieg composed the 1907 Four Psalms op.74, his last work. Itâs a somber end to his musical output â with âJesus Christ is Risenâ being an especially austere, if moving, setting of this Hans Adolf Brorson text. The four psalm settings are based on a collection of Norwegian ânewer and older mountain tunesâ that Grieg wanted to help preserve with his musical adoption. He has achieved that all over again by having them included in this very fine reminder that Grieg is so much more than the Grieg of a certain mountain kingâs hall, or of lyric pieces, or a piano concerto.
-- Jens F. Laurson, WETA 90.9
âMargaretâs Cradle Songâ op.15, No.1, a short gem some 90 seconds long, was written in appreciation of the birth of his daughter Alexandra in 1868. It is set to the Ibsen poem of the same name and hauntingly beautiful. Alexandra, however, never got to appreciate her song; she died shortly after it was written. (Which is tragic and yet, given that it was set to something by Ibsen, also so terribly appropriate.)
Grete Pedersen, who conducts the Norwegian Soloistsâ Choir also sets the first of the Lyric Pieces op.71 âDet var engangâ for mixed choir. It might be the only miscalculation in that the result sounds nice and pleasant but also â in its dum-de-dum new-agey way â cheap.
Norway was already an independent nation when Grieg composed the 1907 Four Psalms op.74, his last work. Itâs a somber end to his musical output â with âJesus Christ is Risenâ being an especially austere, if moving, setting of this Hans Adolf Brorson text. The four psalm settings are based on a collection of Norwegian ânewer and older mountain tunesâ that Grieg wanted to help preserve with his musical adoption. He has achieved that all over again by having them included in this very fine reminder that Grieg is so much more than the Grieg of a certain mountain kingâs hall, or of lyric pieces, or a piano concerto.
-- Jens F. Laurson, WETA 90.9
