A Subjective Approach of the Performance of Edvard Grieg’s Piano Concerto in A minor, Op. 16

Abstract

Starting from a stylistic analysis based on musical language elements, this study offers a personal standpoint with respect to the interpretation and performance of Edvard Grieg’s Piano Concerto in A minor, op. 16. The author accounts for all the technical and interpretive observations starting from a structural analysis of the opus. The reflections on various melodic, harmonic, rhythmic, dynamic or agogic characteristics come to reinforce the rationale for the subjective choices of how to perform this piece. The article is not by far an exhaustive study on the topic; it merely offers a personal viewpoint and understanding of this Concerto based on several musical excerpts that have been deemed particularly relevant by the author, who is a pianist as well as a piano teacher. Given that the literature on the stylistic and performative analysis of major piano repertoire is sadly scarce, the author wishes to provide pianists and researchers alike with a paper that may serve them in their artistic or academic enquiries. As this Concerto is very well-known and enthusiastically approached by most pianists due to its beautiful, impressive themes and brilliant virtuosic passages, the author has considered it opportune to present her own point of view as a performing pianist for other pianists who may be strictly interested in various versions to resolve technical-performative issues or, perhaps, who may wish to merely contemplate this opus from a different angle.