Natalia Strelchenko RIP

[Ten thumbs]

http://www.theguardian.com/uk-news/2016/mar/18/natalia-strelchenko-from-child-prodigy-to-murdered-wife

Fortunately, it is not often that performing artists are murdered. I find this case particularly sad because Strelchenko has released the complete piano works of Agathe Backer-Grøndahl. It is shameful that these works are so little known because they are arguably of far more worth than Grieg's pianoforte efforts. For one thing, Backer-Grøndahl has a much better grasp of form than Grieg and she is far more adventurous. I hope and pray that more pianists will pick up the gauntlet.

[some guy]

http://www.theguardian.com/uk-news/2016/mar/18/natalia-strelchenko-from-child-prodigy-to-murdered-wife

Fortunately, it is not often that performing artists are murdered. I find this case particularly sad because Strelchenko has released the complete piano works of Agathe Backer-Grøndahl. It is shameful that these works are so little known because they are arguably of far more worth than Grieg's pianoforte efforts. For one thing, Backer-Grøndahl has a much better grasp of form than Grieg and she is far more adventurous. I hope and pray that more pianists will pick up the gauntlet.

Sad news is sad. But as you have already moved beyond the news to make a philosophical point about aesthetics and even added a challenge for good measure, I suppose I can continue in that vein and mention that this comment of yours intrigued me: "a much better grasp of form [and] far more adventurous."

Make a nice thread topic, eh, sorting out all the various ramifications of that curious remark. Shall we do it here or make another thread?

[The new erato]

At least I agree that Grieg was best in smaller scale, dances or mood scetches, and that Backe-Grøndahls Abllade probably is the best large scale piano piece (at least known to me) by a Norwegian composer. BTW her sister Harriet was one of Norways 10 best painters as well.

[zamyrabyrd]

I just read the article. How horrible. The bastard was jealous of her. But there were warnings unheeded over time. Pieces of work like that usually mean their threats and eventually carry them out. When under the influence of drugs and alcohol, both in his case, all inhibitions evaporate. How sad!

[Ten thumbs]

Sad news is sad. But as you have already moved beyond the news to make a philosophical point about aesthetics and even added a challenge for good measure, I suppose I can continue in that vein and mention that this comment of yours intrigued me: "a much better grasp of form [and] far more adventurous."

Make a nice thread topic, eh, sorting out all the various ramifications of that curious remark. Shall we do it here or make another thread?

There ought to be thread on Backer-Grøndahl, it's true. However, just a few thoughts.
1. Her works are almost exclusively either lieder of for piano solo.
2. Form is as important to the small short piece, as to the large scale work. Grieg too often uses ABA or ABABA with little or no variation in the recurrences. Backer-Grøndahl does use thematic development even in her little pieces.
3. They were contemporaries - Grieg (1843-1907), Backer-Grøndahl (1847-1907). There is little stylistic development through Grieg's Lyrical Pieces, whereas Backer-Grøndahl amongst other things experimented with impressionism (as did her sister).
4. One thing in common - they both made arrangements of Norwegian folk music.

Incidentally, Natalia's recordings are frustratingly difficult to get hold of.

[Ten thumbs]

https://www.youtube.com/watch?v=UxneZ3cX02s

[Ten thumbs]

I note the equally distressing news re Vadym Kholodenko.

[Ten thumbs]

Ah, I did start a thread for Backer-Grøndahl - but I accidentally missed out the hyphen!

[Luke]

There ought to be thread on Backer-Grøndahl, it's true. However, just a few thoughts.
1. Her works are almost exclusively either lieder of for piano solo.
2. Form is as important to the small short piece, as to the large scale work. Grieg too often uses ABA or ABABA with little or no variation in the recurrences. Backer-Grøndahl does use thematic development even in her little pieces.
3. They were contemporaries - Grieg (1843-1907), Backer-Grøndahl (1847-1907). There is little stylistic development through Grieg's Lyrical Pieces, whereas Backer-Grøndahl amongst other things experimented with impressionism (as did her sister).
4. One thing in common - they both made arrangements of Norwegian folk music.

I agree with much of what you say - in particular that Greig's form in the shorter pieces is pretty rudimentary, which sometimes bothers me a lot, and sometimes not at all! But I wouldn't at all say that there is little stylistic development in Grieg - one only has to play through the Lyric Pieces in order to appreciate quite how much there is, in particular how his textures becomes more adventurous, atmospheric and innovative, and how his harmonies becomes more interesting, finer-graded and more telling. Nor could I ever say that Grieg didn't experiment with some pretty advanced ideas - for instance, the Klokkeklang (Bell-Ringing) piece from the op 54 Lyric Pieces springs to mind, a rigorous exercise in piano sonority (consisting entirely of clangorous overlapping open fifths) with a stark, raw simplicity that is close to late Liszt or even Bartok. (Actually every piece of that op 54 set is completely original, and the first, the Shepherd Boy piece, with its free, parlando rhythms, its discursive harmony and its narratively-charged use of texture and counterpoint, is a real stunner IMO). There are many other pieces which are equally adventurous. Having checked out Backer-Grøndahl's piano pieces on IMSLP yesterday (I was intrigued by your first post) I'd have to say that I couldn't see anything quite as adventurous as that, though I might have missed it. I did make a sort of side-by-side comparison of Backer-Grøndahl's folk music arrangements with Grieg's Slatter and saw little of Grieg's textural, harmonic and decorative exuberance in her works. But then again a) as above, I may have missed it, or been looking in the wrong place, and b) the Slatter are one of Grieg's most impressive achievements IMO.

[Stein Arne Jensen]

There ought to be thread on Backer-Grøndahl, it's true. However, just a few thoughts.
1. Her works are almost exclusively either lieder of for piano solo.
2. Form is as important to the small short piece, as to the large scale work. Grieg too often uses ABA or ABABA with little or no variation in the recurrences. Backer-Grøndahl does use thematic development even in her little pieces.
3. They were contemporaries - Grieg (1843-1907), Backer-Grøndahl (1847-1907). There is little stylistic development through Grieg's Lyrical Pieces, whereas Backer-Grøndahl amongst other things experimented with impressionism (as did her sister).
4. One thing in common - they both made arrangements of Norwegian folk music.

Incidentally, Natalia's recordings are frustratingly difficult to get hold of.

Lucky me!  I recently found all 5 CDs from my local library here in Norway and have to admit that I'm now in the possession of FLAC files of all - so it's not completely impossible :-)

I also found 4 of the 5 CDs on a Norwegian web-shop (apx. 15-20 USD per CD though...: https://www.platekompaniet.no/search/?q=gr%C3%B8ndahl+complete+piano+music

Stein

[Abuelo Igor]

I've always wondered why it is necessary, when praising a little-known composer, to put down another more famous one. Maybe it is a way of getting people's attention.

[Ten thumbs]

I've always wondered why it is necessary, when praising a little-known composer, to put down another more famous one. Maybe it is a way of getting people's attention.

Not really, it was only because they were contemporaries and moreover, friends. Women, no matter what their achievements, were so often forgotten after their deaths.

[Ten thumbs]

I agree with much of what you say - in particular that Greig's form in the shorter pieces is pretty rudimentary, which sometimes bothers me a lot, and sometimes not at all! But I wouldn't at all say that there is little stylistic development in Grieg - one only has to play through the Lyric Pieces in order to appreciate quite how much there is, in particular how his textures becomes more adventurous, atmospheric and innovative, and how his harmonies becomes more interesting, finer-graded and more telling. Nor could I ever say that Grieg didn't experiment with some pretty advanced ideas - for instance, the Klokkeklang (Bell-Ringing) piece from the op 54 Lyric Pieces springs to mind, a rigorous exercise in piano sonority (consisting entirely of clangorous overlapping open fifths) with a stark, raw simplicity that is close to late Liszt or even Bartok. (Actually every piece of that op 54 set is completely original, and the first, the Shepherd Boy piece, with its free, parlando rhythms, its discursive harmony and its narratively-charged use of texture and counterpoint, is a real stunner IMO). There are many other pieces which are equally adventurous. Having checked out Backer-Grøndahl's piano pieces on IMSLP yesterday (I was intrigued by your first post) I'd have to say that I couldn't see anything quite as adventurous as that, though I might have missed it. I did make a sort of side-by-side comparison of Backer-Grøndahl's folk music arrangements with Grieg's Slatter and saw little of Grieg's textural, harmonic and decorative exuberance in her works. But then again a) as above, I may have missed it, or been looking in the wrong place, and b) the Slatter are one of Grieg's most impressive achievements IMO.

Natalia Strelchenko was presumably a naturalised Norwegian and have no wish to disparage Grieg, who must be given credit for being one of the first to realise the potential of folk music, hence the bare fifths of open strings (that his wife hated so much). I do know and play all of his Lyrical Pieces, which contain so much that has found a place in our hearts (I particularly like Skovstilhod (Peace of the Woods) from Op.71). However, they do belong essentially to the Late Romantic and one could make a comparison with Theodor Kirchner.
It is a pity that Strelchenko's recordings of Backer-Grøndahl are so infuriatingly difficult to get hold of (outside of Norway, that is). Backer-Grøndahl was herself one of the finest pianists of her day and her music can at times be very difficult. Some easier pieces you might look at are the ten Fantasistykke, Op.39, in particular no.4 Song of the Roses (a favourite in Norway), No.5 In the Boat and No.6 The Fountain. We are in a completely different ball-park here. Also, and far more difficult, Op.44 I Blaafjeldet for which I do need Natalia's assistance.

[Abuelo Igor]

Not really, it was only because they were contemporaries and moreover, friends. Women, no matter what their achievements, were so often forgotten after their deaths.

That's true, in this case it was well-meant, even if, as another poster already pointed out, Grieg did get more adventurous over the years. 

I was thinking rather about a member, whose name escapes me, who invariably writes, every time he wants to call attention to some unjustly forgotten talent, that he was "a much better composer than Scriabin". He probably studied piano and got flunked because of old Alexander Nikolayevich.