Uploaded October 2023 | Updated September 2026, 9 hours ago
Quartet for String Orchestra in G Minor
Edvard Grieg
The Saint Paul Chamber Orchestra
Gábor Takács-Nagy, conductor
Recorded June 9-10, 2023 at the Ordway Concert Hall
Watch the full version in our free Concert Library: content.thespco.org/music/concert-library/composition/quartet-for-string-orchestra-no-1-edvard-grieg
About the Music:
Edvard Grieg was the first great Scandinavian composer. His studies in Leipzig grounded him in the Germanic tradition, but upon his return to his native Norway, he delved into local folk music and launched a national music academy. In 1876, he completed a collaboration with Norway’s most celebrated writer, Henrik Ibsen, providing incidental music for the play Peer Gynt which remains his most recognizable calling card. That same year, Grieg wrote a series of song settings on poems by Ibsen, including the song “Spillemaend” about a water spirit from Norwegian folklore.
That song melody became the basis of a string quartet that Grieg began the next year while staying among the fjords and forests of Norway’s gorgeous Hardanger district. During a sojourn that ended up lasting through the winter and on to the next summer, Grieg wrote the Quartet in G Minor, his first foray into that genre since a lost student work he attempted at 18.
As he wrote in a letter to a friend, his intention in the quartet was to strive toward “breadth, vigor, flight of imagination, and, above all, fullness of tone for the instruments for which it is written.”
Program Notes © 2023 Aaron Grad
Quartet for String Orchestra in G Minor
Edvard Grieg
The Saint Paul Chamber Orchestra
Gábor Takács-Nagy, conductor
Recorded June 9-10, 2023 at the Ordway Concert Hall
Watch the full version in our free Concert Library: content.thespco.org/music/concert-library/composition/quartet-for-string-orchestra-no-1-edvard-grieg
About the Music:
Edvard Grieg was the first great Scandinavian composer. His studies in Leipzig grounded him in the Germanic tradition, but upon his return to his native Norway, he delved into local folk music and launched a national music academy. In 1876, he completed a collaboration with Norway’s most celebrated writer, Henrik Ibsen, providing incidental music for the play Peer Gynt which remains his most recognizable calling card. That same year, Grieg wrote a series of song settings on poems by Ibsen, including the song “Spillemaend” about a water spirit from Norwegian folklore.
That song melody became the basis of a string quartet that Grieg began the next year while staying among the fjords and forests of Norway’s gorgeous Hardanger district. During a sojourn that ended up lasting through the winter and on to the next summer, Grieg wrote the Quartet in G Minor, his first foray into that genre since a lost student work he attempted at 18.
As he wrote in a letter to a friend, his intention in the quartet was to strive toward “breadth, vigor, flight of imagination, and, above all, fullness of tone for the instruments for which it is written.”
Program Notes © 2023 Aaron Grad









![Chopin: Piano Concerto No. 2 / Zacharias (full-length)
Frédéric Chopin
Piano Concerto No. 2 in F minor
Recorded May 14, 2016 at the Ordway Concert Hall
The Saint Paul Chamber Orchestra
Christian Zacharias, conductor and piano
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About the music:
Chopin was not yet twenty when he completed his Piano Concerto in F Minor. Though it was the first of his two piano concerti, it was published second and thus designated his Piano Concerto No. 2. (Chopin set to work on his Concerto “No. 1” in E Minor shortly following the F Minor’s premiere.)
Both concerti, merely by virtue of their existence, inevitably invite comparison to the piano concerti of Mozart and Beethoven, at that time the genre’s definitive works. Measured by that standard, Chopin’s concerti routinely fail to satisfy—but this is a misguided criterion. Chopin’s concerti do not strive to create the cogent musical drama of Mozart’s and Beethoven’s, with their Jungian archetypal soloists navigating a rich cosmos manifested by the orchestra. Chopin’s F Minor Concerto (and likewise its E Minor sibling) is a piano concerto in the most truly Romantic sense: it is a soloist vehicle, an unabashed celebration of pianistic virtuosity. The stile brillante of Hummel, Weber, and others offers a more accurate lens on Chopin’s concerti—viewed through which, even these youthful works must be regarded among the finest of their kind. (Robert Schumann surmised that “if a genius such as Mozart were to appear today, he would write Chopin concertos rather than Mozart ones.”)
The Concerto comprises three movements. The opening Maestoso is a heady portrait of nineteenth-century Sturm und Drang. A Larghetto of breathtaking loveliness follows. In each of these, Chopin places the piano prominently in the foreground, but particularly in the slow movement, where the orchestra often provides little more than a translucent halo around the soloist’s ecstatic flourishes. This heartfelt rhapsody was inspired by a young singer, Constantia Gladkowska, who had charmed Chopin. “I have … found my ideal,” the composer wrote to a friend, “whom I worship faithfully and sincerely. … But in the six months since I first saw her I have not exchanged a syllable with her of whom I dream every night, she who was in my mind when I composed [the Larghetto].” Notwithstanding the ardor of the slow movement, Chopin saves arguably his most personal statement for the finale, a brilliant Allegretto vivace whose rhythmic character draws from the mazurka, a folk dance from the composer’s native Poland.
Patrick Castillo ©2016 Chopin: Piano Concerto No. 2 / Zacharias (full-length)](https://i.ytimg.com/vi/DZpcI6hmM0A/mqdefault.jpg)
