Edvard Grieg:
Sonata for violin and piano no.
1, F-major, op.8
Sonata for violin and piano no.
2, G-major, op.13
Sonata for viloin and piano no.
3, C-minor, op.45
Henning Kraggerud, violin,
Helge Kjekshus, piano
1997. Naxos 8.553904 (superbudget-price)
Edvard Grieg’s status in the musichistory of his native Norway is indisputable. He is regarded the most important among the nations composers, as well as being by far the most popular and widely known one, both in Norway and elsewhere. Being among the primary artistic forces in the building of a national identity in the latter part of 19th. century Norway, Grieg’s keen interest in- and artistic emphasis on Norwegian folkmusic has given him an almost regal stature alongside a tiny group of artists in the national-romantic movement, like the authors Henrik Wergeland and later Björnstierne Björnson, the painters Hans Gude and J.C. Dahl, and fellow composers Johan Svendsen and Johan Halvorsen.
The artistic output of Edvard Grieg signals a certain reluctance towards the great classical form of music; the sonata. There are precious few works written in this format in the opus of Grieg. The most notable examples are of course the great A-minor pianoconcerto alongside with the cellosonata op.36 and the pianosonata op.7; and then there are the three sonatas written for violin and piano. There can be little doubt as to Grieg’s capacity as a lyricist, but listening to these three gems I find it difficult even to quetion his prowess in the great academic formats. There is something irresistably fresh, joyful and sparkling about this music. Certainly these three sonatas are, like so many of Grieg’s pieces saturated with the harmonics of Norwegian folkmusic, but the composer have managed to blend the folklore and the academia into what I can only describe as colourful, potent and highly original music. Fitting the structures of traditional music into the rigid framework of the sonata, must have caused Grieg some grieve, but the results, deviating somewhat from the Viennese ideals, are nevertheless as admireable as they are enjoyable.
Appearing roughly at the same time as Brahms’ triptych of violinsonatas (1878-88), Grieg’s lesser known cousins (1865-87) might seem more extraverted and blooming, than the more “domesticated” sonatas of the German master. I greatly admire and love the sonatas of Brahms’, but the freshness of Grieg’s bold and juicy expression is difficult to ignore, and I wish these works were given the attention they surely deserve.
The duo of the two young Norwegian musicians Henning Kraggerud and Helge Kjekshus makes a recording debut, priding not only themselves, but the music they perform. Kraggerud and Kjekshus had recitals in Bergen and Oslo playing these sonatas, leaving an impression on the audience and the critics which still haven’t worn off. Hence it was splendid news when this recording hit the shelves. I regrettably never made it to those great recitals myself, but I have had the pleasure of hearing Henning Kraggerud live a couple of times. His tone has matured into a wonderfully rich and sonorous one, and a live performance of the Sibelius concerto a year ago was a most promising one. In this recording they can surely compete for the title “The dynamic duo”, even with the current holders - of Gotham City. Their ensemble is tight yet flexible, and they pull decisivly in the same direction. Perhaps they might become a pair like Perlman & Ashkenazy, Mullova & Anderszewski or even Kremer & Argerich, in the years to come. The potential certainly is there. This is a disc I most readily recommend, and at this price...a bargain it is, if I ever saw one.
© 1998 Arne.Mork@hum.uit.no
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