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    Jeg Elsker Dig: Edvard Grieg

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    Natasha Nepgen

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    Jeg Elsker Dig: Edvard Grieg

    Uploaded by

    Natasha Nepgen
    239 views2 pages

    Original Title

    GRI-V6-01-Grieg-Jeg-elsker-Dig

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    239 views2 pages

    Jeg Elsker Dig: Edvard Grieg

    Uploaded by

    Natasha Nepgen

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    of 2

    Jeg elsker Dig

    Edvard Grieg

    Composer
    • Edvard Grieg was a Norwegian composer from the Romantic period.
    • He was born in Bergen in 1843, and died there in 1907.
    • Grieg was the first internationally recognised Norwegian composer, and he deliberately
    set out to cultivate a Norwegian musical style.
    • His compositions show the influence of Norwegian folk music through their titles, their
    use of simple folk-like melodies and their adventurous harmonic progressions.

    Title
    • “Jeg elsker Dig” means “I love you”, or, in a singable translation, “I love but thee”.
    • The text is by the famous Danish author Hans Christian Andersen, who also wrote
    The little mermaid, The ugly duckling and The Emperor’s new clothes.
    • This song was published in a collection of four Melodies of the heart, Op. 5.
    • Op. (Opus) means a work or group of works. The opus number identifies the piece.

    Analysis
    • Jeg elsker Dig is in C major, in binary (AB) form, with a short introduction, interlude and
    postlude.

    b.1-3 Introduction, C major. The harmony is warm and romantic, and contains some
    chromaticism and dissonance (including several semitone clashes) to express deep
    7
    emotion. It ends with a ii-V -I progression (indicated by the bass notes, D-G-C),
    leading to the tonic chord.
    A 3-8 This passage begins on the tonic chord of C major in 2nd inversion, then moves away
    from C major, passing through A minor (b.3-4) to D minor (b.4-6). Bars 7-8 return to
    C major, although the tonic chord is not used yet.
    Pitch and volume reach a climax in b.7-8, for “første Kærlighed” (first love).
    Interlude, C major, using a V -I progression. The melody in b.9 imitates the r | r. t e
    7
    9-10
    rhythm of the previous bar.
    B 10-18 Bars 10-16 follow a similar harmonic course to bars 3-10, passing trough A minor and
    D minor then returning to C major. The melody is also unchanged at first; it is varied
    from b.13, as the words “Jeg elsker Dig” (I love you) are repeated, in r | r. t e rhythm,
    with gradually increasing pitch.
    There is a dominant pedal in the bass in b.16-17. Half-diminished 7th harmony in
    7
    b.17 (D-F-Af-C) leads to a V -I cadence in b.17-18.
    7
    18-21 Postlude, recalling the opening phrase of the vocal melody, and ending with a V -I
    cadence in b.20-21.

    Signs and terms (Italian)


    • This song begins with an anacrusis (an incomplete bar).
    • Quasi Andante means like a walking pace [quasi means almost, or as if it were].
    • poco a poco cresc[endo] means becoming gradually louder, little by little.
    • poco acceler[ando] means gradually becoming a little faster.

    Copyright © 2015 by R. A. Hamilton


    Prepared for Christelle van der Merwe. Order: 35899
    • cresc[endo] sempre means always becoming gradually louder.
    • ritard[ando] means gradually becoming slower.
    g
    • indicates an arpeggio (i.e. the notes of the chord are to be played one after another).
    • A pause or fermata (U) means hold for longer than the written value.

    Style
    Music from the Romantic period (c.1810-c.1900) is often passionate and expressive.
    Romantic characteristics of this song include:
    • tender, intimate character.
    • lyrical melodies, in long, flowing phrases.
    • rich harmonies, using some chromaticism and many 7th chords.
    • some expressive dissonance (e.g. the semitone clashes in the introduction, and the first
    melody notes of bars 4, 5 and 8).
    • wide dynamic range.
    Romantic compositions are usually played with sincere expression, a warm tone, and with
    some flexibility of rhythm (i.e. tempo rubato).
    Grieg’s contemporaries included Brahms, Tchaikovsky, Dvořák, Massenet and Fauré.

    Copyright © 2015 by R. A. Hamilton


    Prepared for Christelle van der Merwe. Order: 35899

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