Book contents
- Frontmatter
- Contents
- List of Illustrations
- Preface
- A Biographical Note
- Introduction
- 1 Adam
- 2 Alfvén
- 3 Atterberg
- 4 Beethoven
- 5 Bizet
- 6 Borodin
- 7 Brahms
- 8 Donizetti
- 9 Gounod
- 10 Grieg
- 11 Handel
- 12 Leoncavallo
- 13 Mascagni
- 14 Massenet
- 15 Meyerbeer
- 16 Mozart
- 17 Puccini
- 18 Rangström
- 19 Rossini
- 20 Schubert
- 21 Sibelius
- 22 Richard Strauss
- 23 Verdi
- 24 Wagner
- 25 Björling's Remaining Recordings: A Survey of the Best (1920–60)
- 26 Evolution and Influence
- Notes
- Discography
- Bibliography
- Index
10 - Grieg
Published online by Cambridge University Press: 05 February 2013
- Frontmatter
- Contents
- List of Illustrations
- Preface
- A Biographical Note
- Introduction
- 1 Adam
- 2 Alfvén
- 3 Atterberg
- 4 Beethoven
- 5 Bizet
- 6 Borodin
- 7 Brahms
- 8 Donizetti
- 9 Gounod
- 10 Grieg
- 11 Handel
- 12 Leoncavallo
- 13 Mascagni
- 14 Massenet
- 15 Meyerbeer
- 16 Mozart
- 17 Puccini
- 18 Rangström
- 19 Rossini
- 20 Schubert
- 21 Sibelius
- 22 Richard Strauss
- 23 Verdi
- 24 Wagner
- 25 Björling's Remaining Recordings: A Survey of the Best (1920–60)
- 26 Evolution and Influence
- Notes
- Discography
- Bibliography
- Index
Summary
“Jeg elsker dig”
October 7, 1945: Detroit, Masonic Temple Auditorium
Ford Symphony Orchestra, cond. Dimitri Mitropoulos
March 25, 1946: New York, Rockefeller Center
Firestone Orchestra, cond. Howard Barlow
WHRA-6036
June 9, 1954: Bergen, Concert Palace
Bergen Philharmonic Orchestra, cond. Carl Garaguly
Bluebell ABCD 006
October 20, 1955: Seattle, Civic Auditorium
Frederick Schauwecker, pf.
VRCS-2001
“Jeg elsker dig” is perhaps the most famous of all Scandinavian songs, and since Hans Christian Andersen's text—sung here in the original Danish, but with Norwegian pronunciation—is clearly suited to a handsome male voice, it may seem surprising that Björling never recorded it in the studio. Yet these four live performances suggest that this open-hearted declaration of love—dedicated by Grieg to his future wife Nina Hagerup—did not entirely suit him. This is immediately evident in the broadcast with Mitropoulos, where he is heard singing the single stanza in D major (the key usually chosen by tenors). In spite of the melting legato and scrupulous attention to the composer's dynamic markings, which range from pianissimo to fortissimo, the overall effect is too inward-looking and melancholy to sweep the listener off his (or her) feet. Even when he repeats the stanza, as he does in the other three recordings, and even in the B major performance recorded in Grieg's home town of Bergen, where he sings the repeat more softly, Björling fails to convey the message conclusively.
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- Information
- The Bjorling SoundA Recorded Legacy, pp. 81 - 84Publisher: Boydell & BrewerPrint publication year: 2012