Lyric Pieces: Wedding Day at Troldhaugen, Op. 65/6 [arrangement] Cover Image

Lyric Pieces: Wedding Day at Troldhaugen, Op. 65/6 [arrangement]: Conductor Score & Parts

$55.00 USD

Lyric Pieces: Wedding Day at Troldhaugen, Op. 65/6 [arrangement]: Conductor Score & Parts

Name: Lyric Pieces: Wedding Day at Troldhaugen, Op. 65/6 [arrangement]: Conductor Score & Parts
Brand: Alfred Music
SKU: 36-A456502
Price: 55.00 USD
Availability: InStock

By Edvard Grieg / arr. Gottfried Huppertz

Item: 36-A456502

$55.00

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Edvard Grieg (1843-1907) wrote Lyric Pieces as a collection of 66 short works for piano. Published in ten volumes, Book VIII, Op. 65, contains six pieces, which includes "Bryllupsdag på Troldhaugen" ("Wedding Day at Troldhaugen"), the final work in the book. Written in 1896, it was written as a memorial for the composer and his wife Nina's 25th wedding anniversary. The work begins and ends with a festive march-like section, describing the well-wishes to the couple from the guests at the wedding. A middle section is more reflective than the bookends. This arrangement for small orchestra is by German composer Gottfried Huppertz (1887-1937). Instrumentation: 1.1.2.1: 2.2+Crnt.1.0: Perc(2-3): Str (9-8-7-6-5 in set). The following instruments are listed as "ad lib" in the parts: oboe, bassoon, trumpet 2, percussion, and the violoncelli.

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Series: Kalmus Orchestra Library

Publisher: Keiser Productions, Inc.

UPC: 660355033896

SKU: 36-A456502

Instrumentation: 1.1.2.1: 2.2+Crnt.1.0: Perc(2-3): Str (9-8-7-6-5 in set)

More about this title

About the Composer: Edvard Grieg

Edvard Grieg (1843, 1907) shaped the sound of Romantic music by drawing deeply from Norwegian folk traditions and the landscape of his homeland. His gift for melody and harmonic color made him one of the era's most performed composers, yet he remained committed to small forms and intimate expression rather than grand symphonic gestures. The Lyric Pieces represent his most enduring legacy in music education: 66 character pieces that teach musicianship through genuine artistry, not exercises.

Grieg's influence extends far beyond concert halls into the classroom, where his music has become essential repertoire for developing both technical skill and interpretive sensibility. His works reward careful listening and reveal new layers with repeated study, making them invaluable tools for teaching musicians to think beyond the notes on the page.

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Why we love this

Huppertz's orchestration preserves the lyrical warmth that makes Grieg so compelling while adding textural depth that small orchestras can manage with real sophistication. The flexible instrumentation (with oboe, bassoon, trumpet 2, percussion, and celli marked ad lib) means you can perform this with exactly the ensemble you have on any given day. It's the kind of piece that feels substantial in concert without demanding resources you don't have.

What to expect

The piece opens with bright, ceremonial optimism, the kind of music you hear when wedding guests are gathering and anticipation fills the air. A quieter, more intimate section follows, inviting reflection on partnership and time spent together. The return to festive energy feels earned and joyful, a genuine celebration rather than empty virtuosity.

Who it's for

Conductors looking for a charming, accessible piece that bridges the gap between string orchestra and full chamber ensemble repertoire. This works equally well for high school orchestras aiming for something beyond standard fare and for community ensembles seeking music with genuine substance and crowd appeal.

How to get the most out of it

Shape the opening march with clear articulation in the winds and a steady rhythmic pulse from the string sections, but resist the urge to rush; let the festive character breathe naturally.
Balance the reflective middle section so the melody sings over harmonic support; this is where the arrangement's textural choices become most apparent.
Bring the finale back to the marchlike energy with conviction, treating it as a celebratory send-off rather than a mere repeat of the opening.

How to use it

Pair this with other Romantic chamber works for a concert celebrating love, marriage, or milestone anniversaries; it also works beautifully as the closing piece of a spring concert, offering a sense of completion and warmth. Early in the season, it's an excellent choice for familiarizing younger musicians with Grieg's orchestral voice before tackling his more demanding works.