Grieg, Edvard Hagerup : Suite "Fra Holbergs Tid" "Sarabande" Op.40-2
Work Overview
Genre:suite
Total Playing Time:4 min 30 sec
Copyright:Public Domain
Commentary (1)
Author : Ooi, Kazurou
Last Updated: March 12, 2018
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Author : Ooi, Kazurou
2. Sarabande
When one thinks of a suite, one tends to associate it with the Baroque period and consider performance practices appropriate for that era. However, for this Sarabande, it is helpful to approach it as a Romantic piece, employing rubato and singing generously. It is written in three or four voices, and the polyphonic order is strictly maintained. However, you may consider the soprano line as the melodic part. Of course, the alto and tenor lines could also be interpreted as a duet depending on the approach, but I believe this judgment can be left to the performer.
Furthermore, since there are repeats, you may vary the prominent line, for example, highlighting the soprano in the first repeat and the tenor in the second. Occasionally, sections with duets can also be observed. Please refer to measures 9 through 16. From measures 9-12, the soprano sings; from measures 13-14, the alto sings; and the duet section where the two combine is from measures 15-16. This is clear.
When progressing through the four-part texture, always be aware of the most important notes. Around measure 20, in the bass register, there is a succession of chords in close position. It would be good to bring out the top note. Measures 25-28 reach the peak point of this piece. However, issues with grasping notes may arise. Please refer to the following for guidance:
- At measure 26, the alto's off-beat 16th note B should be taken with the left hand. This is because many people cannot reach a 10th with their right hand.
- At measure 27, assuming the pedal is held until the third beat, the top three notes of the chord on the first beat (G, D, B) should be taken with the right hand. Change the pedal on the third beat, and take the top three notes (A, C, F#) and the off-beat E and G with the right hand.
- At measure 28, on the first beat, all notes except the bass D octave should be taken with the right hand. On the second beat, the three 16th notes and two 8th notes written in the bass clef, and the two quarter notes on the third beat, should be taken with the left hand.
- At measure 32, for beats 1-2, all notes except the perfect fifth G-D in the bass should be taken with the right hand.
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