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SKU: SK0044906-US20260105-083122 Category: Tag:
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DISC: 1

1. Suite, Op. 20~I. Prélude
2. 3 Morceaux, Op. 15~I. Sérénade
3. Études de concert, Op. 57/1
4. Norske folkeviser og folkedanse, Op. 30~I. Brudeslaat (Lom?)
5. 6 Idylles, Op. 24~I. Allegretto leggiero
6. Norske folkeviser og folkedanse, Op. 30~IX. Siklebækken (Mollargutten)
7. Norske folkeviser og folkedanse, Op. 30~X. Kivlemöyerne (Mollargutten)
8. Norske folkeviser og folkedanse, Op. 30~XI. Fanitullen (Mollargutten)
9. 6 Idylles, Op. 24~V. Allegretto tranquillo
10. 6 Fantasistykker. Barnlige Billeder, Op. 66~I. Ride, ride ranke
11. Norske folkeviser og folkedanse behandlede, Op. 33~III. Laat i Fjellet
12. 3 Ungarske studier (Three Hungarian Studies), Op. 38~II. Intermezzo
13. Fantasistykker for Piano, 2den Samling, Op. 39~Hefte I: I. Souvenir
14. Norske folkeviser og folkedanse, Op. 33~VIII. Bruralaat (Valdres)
15. 4 Skizzer (Sketches), Op. 19~I. Allegretto leggiero
16. Norske folkeviser og folkedanse Behandlede, Op. 33~I. Halling
17. Smaa fantasistykker for Piano, 4de Samling, Op. 55~IV. Et Farvel
18. Norske folkeviser og folkedanse Behandlede, Op. 33~VI. Springdans (Vinje)
19. Norske folkeviser og folkedanse, Op. 30~V. Springdans
20. Suite, Op. 20~II. Nocturne
21. Huldreslaat (Dance of the Huldra)
22. Smaa fantasistykker for Piano, 4de Samling, Op. 55~IX. Romance
23. I blaafjellet (In the Blue Mountains). Eventyr Suite I 6 Claverstykker, Op. 44~II. I Trollhallen
24. 6 Études De Concert, Op. 11~IV. Allegretto

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Hailed by George Bernard Shaw as one of the 19th century’s greatest virtuoso pianists, Agathe Backer Grondahl was also a pioneer among women composers, juggling marriage, motherhood and an extensive career. She was taught by Liszt in Weimar, and as one of Norway’s most respected composer-pianists, created a large body of work that displays colorful stylistic variety and poetic breadth. The beautiful Sérénade from Trois Morceaux, Op. 15 may well be Backer Grondahl’s most popular piano composition, but her concert études are virtuoso masterpieces – the folk-tune arrangements drawn from her Op. 30 and Op. 33 sets illustrate her perceptive absorption of her country’s folk music. The remarkable fairy-tale suite I blaafjellet, Op. 44 is possibly the first impressionist piece by a Norwegian composer.

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