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EDITION BREITKOPF

GRIEG Lyrische Stücke für Orgel

Lyric Pieces for Organ

EB 8832


EDVARD GRIEG 1843–1907

LYRISCHE STÜCKE | LYRIC PIECES aus | from

op. 12, 38, 43, 47, 54, 57, 62, 65, 68, 71 für Orgel | for Organ bearbeitet von | arranged by

Klaus Uwe Ludwig

Edition Breitkopf 8832 Printed in Germany


Vorwort

Preface

Die zehn Hefte Lyrische Stücke (Opera 12, 38, 43, 47, 54, 57, 62, 65, 68 und 71) von Edvard Grieg enthalten insgesamt 66 Charakterstücke. „Sie repräsentieren ein Stück meiner Lebensgeschichte“, meinte der Komponist und lässt sie von seiner norwegischen Heimat erzählen. Grieg gibt hier dem Genre des romantischen Charakterstücks eine Wendung ins Bildhaft-Realistische und verarbeitet Natureindrücke, Landschaftsskizzen, Tänze und Lieder. So gilt er in praktisch allen seinen Werken als Nationalkomponist seiner norwegischen Heimat – ähnlich etwa wie Niels Wilhelm Gade für Dänemark oder Jean Sibelius für Finnland. Die vorliegende Auswahl greift zu Stücken, die nicht ausdrücklich pianistisch sind und sich für die Übertragung auf die Orgel eignen. Beim konzertanten Spiel bietet sich eine Zusammenstellung von drei, fünf oder wenigen Stücken mehr an. Abwechslung im Charakter (schnell – langsam / virtuos – lyrisch  …) und eine sinnvolle Tonartenfolge können Leitlinien sein. Den Bearbeitungen liegt Band 1 der Edvard-Grieg-Gesamtausgabe (Edvard Grieg-Komitee, Oslo), herausgegeben von Dag Schjelderup-Ebbe, Edition Peters, 1977 / 2006, zugrunde. Die meisten Vortragsbezeichnungen wurden beibehalten, auch wenn sie dem Klavier zugedacht und auf der Orgel nicht immer zu realisieren sind. Trotzdem – sie dienen der Interpretation und zeigen den Willen des Komponisten. Eine Verteilung auf zwei bzw. drei Manuale ergibt sich zuweilen von selbst, wenn Melodien behutsam hervorgehoben werden sollen – weniger im Sinne des barocken Spaltklangideals (äußerst unterschiedliche Register für Solo und Begleitung), als vielmehr in Gedanken an die grundtönigen Farben romantischer Orgeln, oft mit gekoppelten Manualen. Wenn die originalen hohen Klavierstellen in der Orgelbearbeitung den Umfang des Instruments überschreiten, stelle man die Registrierung auf 4’-Basis, im Pedal gelegentlich auch auf 8’- oder 4’-Basis. Dies empfiehlt sich auch für andere Stellen, die in der Originalhöhe möglicherweise nicht satt genug klingen, oder man benützt Oktavversetzungen. Ob man alle Arpeggien-Angaben Griegs auf der Orgel umsetzt, muss jede(r) Spieler(in) selbst entscheiden. Mit der vorliegenden Ausgabe soll eine Auswahl aus einer zentralen und bedeutenden Werkgruppe des romantischen Klavierrepertoires für die Orgel in angemessener Weise erschlossen werden.

The ten volumes of Lyric Pieces (opp. 12, 38, 43, 47, 54, 57, 62, 65, 68, and 71) by Edvard Grieg include altogether 66 character pieces. “They represent a part of my life’s history,” stated the composer, and they tell of his Norwegian homeland. Grieg here gives the genre of the Romantic character piece a turn to pictorial realism and deals with impressions of nature, landscape sketches, dances, and songs. Thus, in almost all of his works he is considered as the national composer of his Norwegian homeland – akin, for instance, to Niels Wilhelm Gade for Denmark or Jean Sibelius for Finland. The present selection takes up pieces that are not explicitly pianistic and are suitable for rendering on the organ. Advisable for playing in concerts is a set of three, five, or a few more pieces. Character contrast (fast – slow / virtuosic – lyric …) and a meaningful key sequence can be guiding principles. The arrangements are based on volume 1 of the Edvard Grieg Complete Edition (Edvard Grieg Committee, Oslo), edited by Dag Schjelderup-Ebbe, Edition Peters, 1977 / 2006. Most of the performance markings were retained, even though they are intended for the piano and cannot always be realized on the organ. Regardless, they do serve to interpret and show the composer’s intentions. A distribution on two or three manuals sometimes falls into place of its own accord when melodies are to be carefully highlighted – less in the sense of the Baroque Spaltklang ideal (extremely contrasting colors for solo and accompaniment), than along lines of the Romantic organ’s basic sonorous color, often with manuals coupled. If the original high-pitched passages on the piano exceed the instrument’s range in the organ arrangement, then the registration can be based on the 4’  range, occasionally in the pedal also on the 8’ or 4’ range. This is also to be recommended for other passages that may possibly not sound full enough at the original pitch, or where octave shifts may be needed. Each player must make a personal decision whether to implement all of Grieg’s arpeggio markings on the organ. The present edition makes available a selection of pieces from an essential and significant work group in the Romantic piano repertoire for the organ in an appropriate manner.

Wiesbaden, Herbst 2016

Wiesbaden, Fall 2016

Klaus Uwe Ludwig

Klaus Uwe Ludwig


Inhalt | Contents Arietta  . . . . . . . . . . . . . . . . . . . . . .  op. 12 Nr. 1  . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 Alfedans  . . . . . . . . . . . . . . . . . . . .  op. 12 Nr. 4  . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 Elfentanz | Fairy Dance Norsk  . . . . . . . . . . . . . . . . . . . . . . .  op. 12 Nr. 6  . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 Norwegisch | Norwegian Berceuse  . . . . . . . . . . . . . . . . . . . .  op. 38 Nr. 1  . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 Springdans  . . . . . . . . . . . . . . . . . .  op. 38 Nr. 5  . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 Springtanz | Spring Dance Folkevise  . . . . . . . . . . . . . . . . . . . .  op. 38 Nr. 2  . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 Volksweise | Folk Song

Bekken  . . . . . . . . . . . . . . . . . . . . .  op. 62 Nr. 4  . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 Bächlein | Brooklet Elegi  . . . . . . . . . . . . . . . . . . . . . . . .  op. 47 Nr. 7  . . . . . . . . . . . . . . . . . . . . . . . . . . . 26 Elegie | Elegy Trolltog  . . . . . . . . . . . . . . . . . . . . .  op. 54 Nr. 3  . . . . . . . . . . . . . . . . . . . . . . . . . . . 29 Zug der Trolle | March of the Trolls Hjemve  . . . . . . . . . . . . . . . . . . . . .  op. 57 Nr. 6  . . . . . . . . . . . . . . . . . . . . . . . . . . . 33 Heimweh | Homesickness Bryllupsdag på Troldhaugen  . . .  op. 65 Nr. 6  . . . . . . . . . . . . . . . . . . . . . . . . . . . 37 Hochzeitstag auf Troldhaugen | Wedding Day at Troldhaugen

Halling  . . . . . . . . . . . . . . . . . . . . . .  op. 38 Nr. 4  . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

Bestemors menuett  . . . . . . . . . .  op. 68 Nr. 2  . . . . . . . . . . . . . . . . . . . . . . . . . . . 46 Großmutters Menuett | Grandmother’s Minuet

Småfugl  . . . . . . . . . . . . . . . . . . . .  op. 43 Nr. 4  . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 Vöglein | Little Bird

Sommeraften  . . . . . . . . . . . . . . .  op. 71 Nr. 2  . . . . . . . . . . . . . . . . . . . . . . . . . . . 49 Sommerabend | Summer’s Eve

Melankoli  . . . . . . . . . . . . . . . . . . .  op. 47 Nr. 5  . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 Melancholie | Melancholy

Småtroll  . . . . . . . . . . . . . . . . . . . .  op. 71 Nr. 3  . . . . . . . . . . . . . . . . . . . . . . . . . . . 52 Kobold | Puck


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