Sigurd Jorsalfar, Op. 56: Suite (Three Pieces from Sigurd Jorsalfar) Cover Image

Sigurd Jorsalfar, Op. 56: Suite (Three Pieces from Sigurd Jorsalfar): Full Orchestra, Conductor Score & Parts

$120.00 USD
$120.00 USD
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Sigurd Jorsalfar, Op. 56: Suite (Three Pieces from Sigurd Jorsalfar) Cover Image
Sigurd Jorsalfar, Op. 56: Suite (Three Pieces from Sigurd Jorsalfar): Full Orchestra, Conductor Score & Parts

Sigurd Jorsalfar, Op. 56: Suite (Three Pieces from Sigurd Jorsalfar): Full Orchestra, Conductor Score & Parts

By Edvard Grieg

Item: 36-A152502
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Sigurd Jorsalfar, Op. 56: Suite (Three Pieces from Sigurd Jorsalfar): Full Orchestra, Conductor Score

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Description
SIGURD JORSALFAR, OP. 22, was composed by Edvard Grieg (1843-1907) for a play by Bjørnstjerne Bjørnson in honor of King Sigurd I. First performed in Christiania on April 10, 1872, the incidental music is constructed in nine parts, three of which were chosen by Grieg for an orchestral suite published as OP. 56. The suite premiered on November 5, 1892 in Oslo. The first movement contrasts the personalities of two royal brothers, Sigurd and Eystejn. The Intermezzo has its origins in an 1867 gavotte for violin and piano. The final movement, a march, tells of the brothers' reconciliation after their separation due to a grievous quarrel. Instrumentation: 2(both d. Picc).2.2.2: 4.3.3.1: Timp.Perc(3-4): Hp: Str (9.8.7.6.5 in set).

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Additional Details
Series: Kalmus Orchestra Library
Publisher: Keiser Productions, Inc.
UPC: 659859017303
SKU: 36-A152502
Instrumentation: 2(both d. Picc).2.2.2: 4.3.3.1: Timp.Perc(3-4): Hp: Str (9.8.7.6.5 in set)

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About the Composer: Edvard Grieg

Edvard Grieg (1843-1907) stands as Norway's most celebrated composer and a defining voice of Romantic nationalism. His gift for melodic invention and harmonic color transformed Scandinavian folk idioms into concert music of international significance, influencing composers across Europe and establishing Norwegian classical music on the world stage.

Greig's career spanned five decades of prolific composition across genres: piano works, art songs, chamber music, and orchestral scores. His commitment to Norwegian cultural identity shaped every work, from the Piano Concerto to the Peer Gynt incidental music. He remained deeply engaged with Norway's musical life as performer, conductor, and educator until his death in 1907.

Why we love this

This suite distills one of Grieg's most evocative theatrical scores into three movements that showcase the full range of his orchestral palette. The harmonic sophistication and memorable melodic writing make it accessible to orchestras seeking substantial Romantic repertoire that rewards both rehearsal investment and audience engagement without excessive technical demands.

What to expect

Three movements that shift between introspection and pageantry, held together by Grieg's gift for melodic coherence and orchestral color. The suite evokes Scandinavian landscapes and royal courts with harmonic warmth rather than bombast, unfolding through lyrical development and delicate instrumental interplay.

Who it's for

Orchestras with intermediate to advanced capabilities seeking a complete Romantic suite that programs well alongside contemporary works or Brahms symphonies. The score demands careful sectional balance and sustained phrasing from strings, but individual parts contain no extreme technical passages that would isolate musicians.

How to get the most out of it

  • Balance the harp part carefully in the Intermezzo; it carries crucial harmonic color and should not disappear beneath the strings. The 1867 gavotte origins mean the harp was likely integral to Grieg's original conception.
  • Shape the first movement's contrasting themes with distinct character: Sigurd's music projects strength and decisiveness while Eystejn's should feel more introspective. Clear sectional transitions help listeners follow the character drama.
  • Let the final march build steadily toward the reconciliation moment rather than rushing. Grieg's orchestration grows by instrumental addition; trust that accumulation to generate momentum without forcing tempo.
  • Tune the timpani and percussion carefully for the march section. The instrumentation calls for multiple percussionists, and clarity between parts makes the orchestration's rhythmic architecture audible.

How to use it

Program this as a full suite in a concert exploring Romantic nationalism or Scandinavian musical heritage. It works equally well as a substantial second-half opener after a lighter contemporary piece or classical movement, offering the orchestra a showcase moment that satisfies both players and audiences.

Skills your students will build

  • Balancing orchestral texture across five string parts while maintaining transparent voice leading
  • Shaping long melodic lines across sectional changes and tempo relationships
  • Coordinate between harp and strings for harmonic clarity in the Intermezzo
  • Coordinate timpani and percussion parts with definite and indefinite pitch instruments
  • Understanding character development through orchestration and thematic transformation across movements

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