General Overview
Edvard Grieg’s “9 Children’s Pieces,” EG 103, is a set of piano pieces composed in 1897. The collection is notable for its simplicity and charm, making it accessible to intermediate-level pianists. The pieces are a testament to Grieg’s ability to create a sense of Norwegian musical identity, even in smaller, more intimate works.
A general overview of the pieces is as follows:
The collection consists of nine short pieces for solo piano.
The titles, often in both Norwegian and German, suggest a range of moods and images, such as “The Pearl,” “Prayer,” “Loss,” and “A dream.”
The musical style is characteristic of Grieg’s Romanticism, incorporating lyrical melodies, rich harmonies, and a focus on expressing emotion and atmosphere.
Although intended for a younger audience or as pedagogical pieces, they are not simplistic, and they display the composer’s harmonic and melodic inventiveness.
The set is a good example of Grieg’s use of short, evocative piano pieces, a form he frequently explored, most famously in his larger collection of “Lyric Pieces.”
List of Pieces
1 Andante, Ruhig feierlich (Andante, Calm and solemn)
2 Perlen / The Pearl
3 Ved Gellerts grav / At Gellert’s Grave
4 Bønn / Prayer
5 Tap / Loss
6 Femårsdagen / The fifth Anniversary
7 Allegretto con moto (Moderately fast, with motion)
8 Scherzo
9 En drøm / A dream
Characteristics of Music
Edvard Grieg’s “9 Children’s Pieces,” EG 103, showcases many of his signature musical characteristics on a smaller scale, making them a great introduction to his style. The collection, though intended for pedagogical use, is a microcosm of Grieg’s broader Romantic and nationalistic tendencies.
Here are some of the key musical characteristics of the collection:
Lyrical Melodies and Emotional Depth: Grieg was a master melodist, and these pieces are no exception. They often feature simple, song-like melodies that are deeply expressive and evocative of a wide range of emotions, from the solemnity of “Prayer” to the whimsicality of other pieces. This is a defining trait of his Romantic style, which prioritized personal feeling and expression.
Harmonic Innovation: Grieg’s harmonic language is a hallmark of his music, and he displays it even in these brief works. He uses colorful and often surprising chord progressions, including chromaticism and unusual modulations. This innovative harmony adds depth and a sense of mystery or tension to the music, foreshadowing the Impressionist composers who would follow him.
Norwegian Folk Influence: As a nationalist composer, Grieg’s music is deeply rooted in the folk traditions of Norway. While not explicitly quoting folk tunes in this collection, he often incorporates the rhythms, modes (like the Dorian and Lydian modes), and melodic contours of Norwegian folk music. This gives the pieces a distinctive, national flavor that connects them to the landscapes and culture of his homeland.
Miniature Form and Structure: Grieg excelled in writing short, “character pieces,” and this collection is a prime example. Each piece is a concise musical snapshot, often following a simple structure like ABA. The brevity and clear form make them highly accessible for performers and listeners, proving that powerful expression does not require a large-scale composition.
Variety of Moods: The titles of the pieces hint at the diverse moods Grieg explores. He moves from the quiet and reflective (“The Pearl,” “At Gellert’s Grave”) to the more energetic and playful (“Scherzo”). This emotional range, from melancholy to joy, is a central part of Grieg’s Romantic sensibility.
In summary, “9 Children’s Pieces” is a charming and accessible collection that effectively represents Grieg’s musical personality: lyrical and emotionally resonant, harmonically inventive, and deeply connected to his Norwegian heritage, all within the elegant framework of the short piano piece.
Style(s), Movement(s) and Period of Composition
Edvard Grieg’s “9 Children’s Pieces,” EG 103, is a work of the late Romantic period, composed in 1897. To understand its style, it’s helpful to break down the different aspects you’ve asked about:
Old or New at that time?
At the time of its composition, the music of Grieg was considered a part of the established, though still evolving, late Romantic tradition. While his harmonic language was often fresh and forward-looking, it was not as radically “new” as the music of his contemporaries who were pushing into modernism, like Debussy or Schoenberg. Grieg’s music was a culmination and refinement of Romanticism rather than a total break from it.
Traditional or Innovative?
The music is a blend of both. It is traditional in its use of established forms and structures (like the character piece) and its reliance on Romantic expressive ideals. However, it is innovative in its harmonic palette and its deep integration of Norwegian folk idioms. Grieg’s unique blend of modal harmonies, chromaticism, and folk-inspired melodic fragments made his sound distinctive and influential on later composers, particularly those associated with Impressionism.
Polyphony or Monophony?
The music is neither strictly monophonic nor polyphonic, but rather homophonic with polyphonic elements. The dominant texture is a clear, lyrical melody supported by chordal accompaniment. This is typical of the Romantic style, which prioritized a single, expressive melodic line. However, Grieg often uses counter-melodies or inner voices that create a richer, more polyphonic texture, though the primary focus remains on the main melody.
Classicism, Romantic, Nationalism, Impressionism, Post-Romantic or Modernism?
The most accurate classifications for Grieg’s style in this collection are:
Romantic: This is the overarching style. The pieces are highly expressive, emotionally driven, and focused on lyrical melody and rich harmony.
Nationalism: Grieg was a central figure in the Norwegian nationalist movement in music. While not explicitly quoting folk songs in this collection, the influence is deeply felt in the melodic contours, rhythms, and modal harmonies that evoke a distinctly Norwegian character. This is one of the most important aspects of his style.
Post-Romanticism (or Late Romanticism): The term “Post-Romantic” can be used, but it’s more accurate to describe Grieg as a late Romantic composer. While his music pushed harmonic boundaries, it didn’t fully enter the dis-harmony and atonality that characterizes much of true Post-Romanticism or Modernism.
Impressionism: Grieg is often seen as a precursor to Impressionism. His use of colorful, non-functional harmonies and his focus on creating atmosphere and mood over traditional structural development were highly influential on composers like Debussy and Ravel. While not an Impressionist himself, his harmonic language laid the groundwork for the movement.
In summary, “9 Children’s Pieces” is a quintessential example of Norwegian late Romanticism. It’s a blend of traditional Romantic forms with innovative harmonies and a strong nationalistic flavor, foreshadowing the textural and atmospheric interests of Impressionism.
Analysis, Tutorial, Interpretation & Important Points to Play
Analyzing and interpreting Edvard Grieg’s “9 Children’s Pieces,” EG 103, for a pianist requires attention to the subtle details of his style. While the pieces are relatively short and technically accessible for late intermediate players, they are full of musical and emotional nuances that require careful consideration.
Here is an analysis and some important points for playing the collection:
General Analysis and Interpretation
Evocative Titles: Grieg’s titles are not just labels; they are a direct guide to the emotional and pictorial content of each piece. “The Pearl” suggests something precious and delicate, “Prayer” requires a solemn and introspective mood, and “A dream” should be played with a certain dreamy, otherworldly quality. Always consider the title as your starting point for interpretation.
Rhythmic Nuances: While the rhythms may seem straightforward, Grieg’s music often has a flexible, almost improvisational feel. Pay close attention to subtle tempo fluctuations, rubato, and the way the music “breathes.” This is a key characteristic of Romantic music and a crucial element of Grieg’s style.
Harmonic Color: Grieg’s use of harmony is one of the most distinctive features of his music. Don’t just play the notes; listen for the color of each chord. Notice how he uses modal harmonies (often evoking Norwegian folk music) and chromaticism to create unexpected and beautiful sounds. The balance between the melody and the supporting harmony is critical.
Pedaling: The use of the pedal is essential for capturing the lush, resonant sound of Grieg’s music. The pedal can be used to sustain harmonies, create a wash of sound, and connect melodic phrases. However, be careful not to over-pedal, which can make the music sound muddy. Use your ear to find the right balance, especially in the more delicate passages.
Important Points for Playing Piano
“Andante, Ruhig feierlich” (Calm and solemn):
Interpretation: Focus on a rich, full, and legato sound. The mood is serious and noble.
Playing Tips: Pay attention to the voicing. The melody should sing out over the accompanying chords. Use a deep, warm touch and a steady tempo, allowing for subtle tempo changes at phrase endings.
“Perlen” (The Pearl):
Interpretation: This piece is delicate and lyrical. Think of the quiet beauty and shimmering quality of a pearl.
Playing Tips: A light, clean touch is crucial. The arpeggiated figures should be played with a pearl-like evenness. The melody should be shaped carefully, with a gentle rise and fall.
“Ved Gellerts grav” (At Gellert’s Grave):
Interpretation: The mood is somber and reflective, like a quiet moment of remembrance.
Playing Tips: This piece requires a sensitive touch and dynamic control. The chords should be played with a soft, yet resonant sound. The bass line needs to be grounded and steady, like the tolling of a bell.
“Bønn” (Prayer):
Interpretation: A very expressive and heartfelt piece. The mood is one of sincere devotion and contemplation.
Playing Tips: This is a great piece for working on legato touch and singing tone. The melody in the right hand must be played with a beautiful, sustained quality. The left hand accompaniment should be quiet and supportive, never overpowering the melody.
“Tap” (Loss):
Interpretation: A melancholy and mournful piece. The title speaks for itself.
Playing Tips: The texture is often sparse, so every note counts. The dissonances and chromaticisms should be brought out for their emotional impact. The tempo should be slow and deliberate, with a sense of grief and quiet despair.
“Femårsdagen” (The fifth Anniversary):
Interpretation: A sudden shift in mood to something joyful and celebratory. This is a bright and festive piece.
Playing Tips: The fast tempo requires clean and precise articulation. The music should be lively and energetic, with a strong rhythmic drive. The dynamic contrast between forte and piano sections should be clear and effective.
“Allegretto con moto”:
Interpretation: A dance-like piece with a lively, yet gentle character. It has a folk-like simplicity.
Playing Tips: Focus on a clear and bouncy touch. The left hand provides a consistent rhythmic foundation, while the right hand plays a charming, lilting melody.
“Scherzo”:
Interpretation: This is a playful and mischievous piece. It’s full of surprises and quick, light passages.
Playing Tips: The most technically demanding piece in the set. It requires a light, quick touch, with brilliant, fast scale and arpeggio passages. The dynamic shifts and accents are crucial for capturing the “scherzo” character.
“En drøm” (A dream):
Interpretation: The final piece is a beautiful, peaceful, and introspective farewell. It should sound like a cherished memory or a sweet, fading dream.
Playing Tips: A sustained, soft touch is needed. The tempo should be relaxed, with a lot of rubato to give it a free, dream-like quality. The harmonies are particularly rich in this piece, so listen carefully to the blends of sound.
By approaching each piece with a combination of technical precision and artistic sensitivity to Grieg’s unique musical language, a pianist can truly bring this wonderful collection to life.
History
Edvard Grieg composed the “9 Children’s Pieces,” EG 103, in 1897. The collection, though not assigned an opus number by Grieg himself, is part of a body of work that showcases his lifelong dedication to composing for the piano. As a pianist and a teacher, Grieg understood the importance of accessible yet musically rewarding pieces for students.
The creation of these pieces came at a time when Grieg, in his mid-50s, was a celebrated national hero in Norway and a major figure in European music. He had already composed many of his most famous works, including the Piano Concerto and the Peer Gynt suites. However, he never stopped writing short, intimate works for the piano, a form in which he excelled.
“9 Children’s Pieces” can be seen in the context of Grieg’s larger collection of “Lyric Pieces,” which he composed over a span of several decades. Both collections demonstrate his mastery of the musical miniature—short, character-driven works that are filled with melody, emotion, and harmonic color. While the “Lyric Pieces” are generally more complex, the “Children’s Pieces” share the same aesthetic and are an ideal entry point into Grieg’s world for younger or less advanced pianists.
The collection was likely intended for pedagogical purposes, but it’s important to note that Grieg didn’t “dumb down” his style for children. Instead, he distilled his musical language into a more concise and direct form. The pieces, with their clear structures and evocative titles, serve as a bridge between the technical demands of a piano student and the artistic expression of a mature composer.
The history of the collection is not tied to any grand event or personal tragedy, but rather to Grieg’s continuous artistic output and his deep connection to the piano. It stands as a quiet testament to his belief that even the simplest music can be imbued with profound beauty and national character.
Episodes & Trivia
“9 Children’s Pieces,” EG 103, by Edvard Grieg is not a work that is steeped in dramatic historical episodes or widespread public trivia like some of his more famous pieces. However, its creation and context still hold some interesting details.
Here are a few tidbits about the collection:
A Dedication to a Young Student: The collection is dedicated to “Fräulein Ludovisca Riis.” This dedication to a specific young woman suggests that the pieces were not just an abstract idea but were likely written with a particular student in mind. This connection to a real person reinforces the pedagogical purpose of the collection.
A Work of Grieg’s “Indian Summer”: The collection was composed in 1897, a period in Grieg’s life when he was a mature and internationally recognized composer. It’s often referred to as a work from his “Indian summer,” a time when he was still composing actively, but perhaps with less of the youthful fire of his earlier works. Instead, these pieces show a composer at peace, distilling his musical language into its most elegant and expressive forms.
A Glimpse into Grieg’s Nationalism: Although the pieces are intended for children, they are infused with Grieg’s deep sense of Norwegian nationalism. He uses the modal harmonies and rhythmic patterns that are characteristic of Norwegian folk music, even without directly quoting a specific folk tune. This demonstrates how deeply ingrained his national identity was in his musical language, even when writing on a small, intimate scale.
A Link to Robert Schumann: Grieg was a great admirer of Robert Schumann, and his music, particularly his piano works, shows a strong influence. Schumann’s “Kinderszenen” (Scenes from Childhood) is an obvious antecedent to Grieg’s “Children’s Pieces.” Both composers created collections of short, character-driven works that explored the world of childhood with emotional depth and sensitivity, rather than just technical exercises. Grieg’s collection can be seen as a Norwegian response to this German tradition.
A Work Not Given an Opus Number: Grieg was meticulous about organizing his published works with opus numbers. However, he didn’t assign one to “9 Children’s Pieces.” This is not an indicator of its quality, but it does suggest that he viewed it as a more personal or pedagogical project, separate from his major published works like the “Lyric Pieces” or sonatas. The “EG 103” is part of the “EG” catalog, which was compiled posthumously to organize his works without opus numbers.
Similar Compositions / Suits / Collections
Edvard Grieg’s “9 Children’s Pieces,” EG 103, belongs to a tradition of composing short, descriptive piano pieces for pedagogical and home use, a trend that flourished during the Romantic era. These collections are known for their lyrical melodies, expressive moods, and accessible technical demands, making them ideal for developing pianists.
Here are some similar compositions, suites, or collections that share these characteristics:
From the Romantic Era:
Robert Schumann, Kinderszenen (Scenes from Childhood), Op. 15: This is arguably the most famous and influential collection of this type. Composed nearly 60 years before Grieg’s, it’s a set of thirteen evocative pieces, including the beloved “Träumerei.” Like Grieg’s work, it focuses on capturing moods and images from childhood with great tenderness and emotional depth.
Robert Schumann, Album für die Jugend (Album for the Young), Op. 68: This collection is more overtly pedagogical than Kinderszenen, with pieces arranged in increasing order of difficulty. It includes pieces like “The Wild Horseman” and “The Happy Farmer,” offering a wide range of musical characters and technical challenges for students.
Pyotr Ilyich Tchaikovsky, Album for the Young, Op. 39: Tchaikovsky’s collection is a Russian counterpart to Schumann’s. It contains twenty-four pieces, each with a descriptive title, ranging from “Morning Prayer” to “The Hurdy-Gurdy Man.” The pieces are filled with Tchaikovsky’s characteristic melodic grace and dramatic flair.
Felix Mendelssohn, Lieder ohne Worte (Songs Without Words): While not specifically for children, these short, lyrical pieces are a cornerstone of the Romantic miniature. They are a great example of the Romantic ideal of creating a “song” for the piano, a quality that is very present in Grieg’s work.
From the Late Romantic and Early 20th Century:
Edward MacDowell, Woodland Sketches, Op. 51: This collection of ten short pieces by the American composer is a late-Romantic masterpiece. It is highly descriptive, with titles like “To a Wild Rose” and “To a Water-lily,” and is full of rich harmony and evocative imagery, much like Grieg’s music.
Dmitri Kabalevsky, 24 Pieces for Children, Op. 39: Moving into the 20th century, Kabalevsky’s work is a modern classic of pedagogical piano music. While the harmonic language is more modern than Grieg’s, the pieces are still character-driven and beautifully written, with titles like “A Little Fable” and “Dance.”
Béla Bartók, For Children: Bartók’s collection is a unique and important contribution to the genre. It’s a series of short, accessible pieces based on Hungarian and Slovak folk tunes. This collection is a fantastic example of a composer using folk music as the foundation for pedagogical works, a practice Grieg also embraced.
(This article was generated by Gemini. And it’s just a reference document for discovering music you don’t know yet.)
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