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Grieg: Violin Sonata G Major, Op. 13
Of Grieg's three violin sonatas, the great C-minor Sonata op. 45 is the best known today. And unjustly so, because the two early sonatas are captivating in their joy to play and their fresh, youthful tone. And what is more, they can also be played by advanced students due to their somewhat lesser technical demands. Written in 1867, the G-major Violin Sonata op. 13, palpably draws on Grieg's enthusiasm for Norwegian folk music; the lively outer movements in particular take as their model the traditional “jumping dance.” Aside from the second print edition of 1887 revised by Grieg himself, the autograph manuscript in Stockholm was also consulted for this edition, thus offering an optimally ascertained musical text.
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Grieg: Violin Sonata G Major, Op. 13
Grieg: Violin Sonata G Major, Op. 13
Of Grieg's three violin sonatas, the great C-minor Sonata op. 45 is the best known today. And unjustly so, because the two early sonatas are captivating in their joy to play and their fresh, youthful tone. And what is more, they can also be played by advanced students due to their somewhat lesser technical demands. Written in 1867, the G-major Violin Sonata op. 13, palpably draws on Grieg's enthusiasm for Norwegian folk music; the lively outer movements in particular take as their model the traditional “jumping dance.” Aside from the second print edition of 1887 revised by Grieg himself, the autograph manuscript in Stockholm was also consulted for this edition, thus offering an optimally ascertained musical text.
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$26.95
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Description
Of Grieg's three violin sonatas, the great C-minor Sonata op. 45 is the best known today. And unjustly so, because the two early sonatas are captivating in their joy to play and their fresh, youthful tone. And what is more, they can also be played by advanced students due to their somewhat lesser technical demands. Written in 1867, the G-major Violin Sonata op. 13, palpably draws on Grieg's enthusiasm for Norwegian folk music; the lively outer movements in particular take as their model the traditional “jumping dance.” Aside from the second print edition of 1887 revised by Grieg himself, the autograph manuscript in Stockholm was also consulted for this edition, thus offering an optimally ascertained musical text.