In memory of the victims from Norway terror - what should I play?

[cazico]

Hi everyone!

I'm going to play 2 piano pieces (solo) very soon, in a school with 16-18 year-olds in connection with the terror attacks that recently occurred in Norway (all Norwegian schools will arrange a memorial session). It is not a funeral, and should not be funeral music, but it should of course be some serious (at least one of them a little bit sad) music.
I will introduce the memorial session with one piece, then there is a speech (++), and then I finish it with one more piece.
The first piece should be a little bit sad, but the last piece should not be too sad, but a beautiful piece perhaps illustrating a little bit hope and should perhaps be more "future-oriented".


I have some suggestions for myself:
- John Field - Nocturne no. 2 (C minor) as introduction ?
- Chopin prelude no. 4 ?  (no. 20 is too funeral-ish)
- Grieg op. 43 no. 3 ?
- Chopin nocturne op. post in C minor
(Is Liebestraum no. 3 too intense? - I'm not sure if I could learn it until then either...)
- Schubert impromptu 90-3 ?
- Chopin - andante spianato (op. 22) ?
- Bach aria (from Goldberg var.) ??
- Elgar - salut d'amour, op. 12 (as the conclusion) - or is it too "happy"??


Should I perhaps play something else than just classical music?
- Forrest gump??
- Yann Tiersen - Comptine d'Un Autre Été ?
- Jackson - Heal the world / We are the world - piano version/improvisation
(should remember that the people I'm going to play for are 16-18 yo.)


Suggestions would be highly appreciated!


Best greetings from Norway.

[chopinspride]

I don't know. It is a difficult subject, but maybe because the disaster took place in Norway, I would play lot's of Grieg.
Personally, I love the "Nocturno" Op.54 no.4
You could also check out of some his "Elegies"

There are the "Two Elegiac Melodies," Op. 34 and one of the Lyric Pieces, Op.38 No.6 is entitled "elegy."

Mendelssohn is also another option. My favourites are op.19 no.1, Contemplation - op 30 no 1, Duet - op 38 no 6, Consolation - op 30 no 3, Sadness of Soul - op 53 no 4, Reverie - op 85 no 1 Retrospection - op 102 no 2. These are contemplative pieces, full of emotion, this is why I would think they are appropriate.

Good luck with your concert. These are just some suggestions, your own have been excellent also.


John 3:16

New International Version (NIV)

For God so loved the world that he gave his one and only Son, that whoever believes in him shall not perish but have eternal life.

[lelle]

I agree with Chopinspride, some sad pieces by Grieg would be fitting!

[iratior]

A very serious but at the same time consoling piece would be the middle movement of the Mozart A-minor Sonata, K. 310.  It is basically in F major but the predominantly minor development sets a properly mournful mood.

[bachbrahmsschubert]

Grieg. All the way. You must play a Norwegian composer.

[retrouvailles]

Play something by Grieg, Geirr Tveitt, or Fartein Valen. Valen's Variations, Op. 23 would be very fitting. Just anything by a Norwegian composer.

[ahinton]

@ chopinspride:

At the risk of momentary intrusion here, I am compelled to note that the latest of your all too oft repeated citation of

John 3:16...
For God so loved the world that he gave his one and only Son, that whoever believes in him shall not perish but have eternal life

must surely be the most insensitive and inappropriate of all in the light of the tragic circumstances concerned; I'm trying, with an alarming lack of success, to figure out how the Norwegian populace that is reeling from the events concerned could possibly contemplate a God who so loved the world that Mr Breivik could do with impunity what he recently did in the north-west European part of it.

I think that you owe an apology - not to me, of course, but to anyone, especially Norwegians, who might respond similarly to your quotation in the present context.

Best,

Alistair

[richterfan1]

Griegs Lyric pieces, Op.65, No.2 Peasant's song

[sordel]

I'm trying, with an alarming lack of success, to figure out how the Norwegian populace that is reeling from the events concerned could possibly contemplate a God who so loved the world that Mr Breivik could do with impunity what he recently did in the north-west European part of it.

I think that you owe an apology - not to me, of course, but to anyone, especially Norwegians, who might respond similarly to your quotation in the present context.

That's a bit strong, Alistair. Personally, I don't think that people spamming their religious views on a music forum is a constructive contribution, but the particular verse is less inappropriate here than it might be in other threads. After all, the prospect of eternal life is some comfort to people in the face of death, and those who believe in God's love for the world have more reason to mention it when confronted by the problem of pain & evil than they do in some thread about Chopin.

In any case, I can imagine that talk of religion will be rather strong meat for a bunch of people who can't even discuss twentieth century composers without a flame war consuming the thread.

[pianoman53]

Don't take this the wrong way, and don't think I am some sort of insensetive jerk but... Why nothing in major? I mean, they have had enough sorrow already, why give even more with playing nothing but very sad pieces?

I actually think something like Chopin op 9/2 and 2nd of pathetique would fit very well.

[alessandro]

On first thought, every piece of music that is nicely played can have a surprising, "not-thought-of", unexpected effect, and creates often surprising kinds of introspection for the listeners.

But my second thought, went kind of straight to an Impromptu of Schubert.   The first one, Opus 90 - D 899, with this poignant, very interrupting and unexpected slightly violent opening chord (which also could symbolize the terrible end and in the same time "beginning of the memory of the victims").   Also number three is a very thouroughly, deeply felt piece of music, on the verge of an immense sadness, but never too sad, in no way depressing.   In any way, both examples (and there must be more) are very typical and particular in Schubert's repertoire for its unique talent to "speak softly", to direct a message "straight to the heart", in a very intimistic, very smooth way, like a friend (I'm glad I typed this word "friend" ! there were a lot of "friends" among the victims, isn't it ?) would talk to you in secret...

And by the way, to choose for 'Grieg' is for me perhaps not the best choice.   There is a nationalistic zing to this type of choice that I would avoid, I would go for a less weighty choice, more elegant choice, without becoming 'far-fetched' (maybe even go for just anything but Norwegian ; anyway, let your heart speak more than your nationality).

I wish you all a nice concert there in Norway.

And kind greetings to everyone on this forum.



I

[cazico]

Thank you very much to all of you!

I am really thankful for all your nice suggestions, and I’m happy that so many of you spend your time helping me find appropriate music to make a beautiful, memorable and evocative concert for the school children.
I love you all! 

There are some nice Grieg suggestions I didn’t thought of – like 34-2 and 65-2, and Mendelssohn ”songs without words”, Mozart 310, Chopin 9-2... I think there are a considerably possibility that Schubert 90-3 is part of the programme.

More suggestions are of course still highly appreciated, but now I at least have some very good alternatives.

Kind greetings to all of you from Norway.

[tb230]

I agree with alessandro, Grieg is easily a bit 'over the top' nationalistic and you would like to tone down that part on such an occasion. I think your own idea of playing something else than the standard classical repertoire is very interesting and maybe also more appropriate considering the audience. I was at a funeral once where the pianist played Oscar Peterson's 'Hymn to Freedom' and improvised 'Abide with me' into it. It was so extremely well done and I remember it vividly. This is not sad music, but still appropriate and full of hope and feeling.

[ahinton]

That's a bit strong, Alistair. Personally, I don't think that people spamming their religious views on a music forum is a constructive contribution, but the particular verse is less inappropriate here than it might be in other threads. After all, the prospect of eternal life is some comfort to people in the face of death, and those who believe in God's love for the world have more reason to mention it when confronted by the problem of pain & evil than they do in some thread about Chopin.

In any case, I can imagine that talk of religion will be rather strong meat for a bunch of people who can't even discuss twentieth century composers without a flame war consuming the thread.

I take your points, but I really still think that this persistent evangelising stance as evidenced by repeated citations of the same phrase is potentially if not actually offensive under the circumstances in which such tragedy occurred, in the specific face of which arbitrary references to "God's love for the world" is quite likely to be hard to take even for Norwegian Christians, let alone non-Christians and non-believers - for whatever anyone's beliefs may be, the tragedy and subsequent heart- and soul- searching remains.

Best,

Alistair

[pbryld]

Perhaps Åses Død (from the Peer Gynt suite)?

I also think Liebestraum 3 would fit quite well. Bénédiction de dieu dans la solitude would also suit the occasion, but I am not aware of your repertoire/level.

[ahinton]

Perhaps Åses Død (from the Peer Gynt suite)?

Ah, yes - I know it only too well!...

Best,

Alistair

[sordel]

cazico,

Personally, I see no reason to play a Norwegian composer just because he (or she?) happens to be Norwegian. If you feel that the pieces suggested fit the mood that you are trying to strike, then of course the fact that the composer is Norwegian might be considered a bonus, but it would be a very secondary consideration.

I sympathise with your desire to pick a work such as the Michael Jackson that might appeal to a younger audience, and there are a bunch of typical works of that sort (John Lennon's "Imagine" for example) that might serve. Personally I believe that it is better overall to choose a classical work that can define the experience for them, rather than choose a well-known pop song where familiarity might condition the response. Personally, I would be gagging if someone played either "Heal The World" or "Imagine", but then, I'm not 16.

My personal advice would be that this is a case where you serve others best by serving yourself. If you choose a piece that says what you feel or would wish to express, then your sincerity should communicate to the listeners in your performance.

[gep]

Bach, WTC I no. 8 in e-flat minor, or WTC1 no. 24 in b minor?

Especially no. 8 has a sense of grief in it, at least for me. If I hear it played by Richter, it grips me so very much...

[gep]

those who believe in God's love for the world

In the light of what happens in that same world? As done by humans, and as at the very least not prevented by that "loving God"?
It reminds me of what is done by some in the name of the Merciful (i.e. Allah)....

[bachbrahmsschubert]

Here is my more detailed response/advice:

- Avoid compositions that are greater than 4-5 minutes in length.

     This is not a performance for you. This is to mourn the deaths of this heinous crime. If you choose a classical piece, selecting something that is too lengthy may draw the audience out of the purpose for being there.

- Play one piece by Grieg.

     I don't understand how this could be "over the top." Norway has not produced many significant composers compared to, say, Germany or Italy. This concert should bring people together, that in all sense of sorrow, you are capable of uniting and moving on. Most of Grieg's melodies come straight from Norwegian folk songs. In my opinion, a sense of nationalism is the most important quality for this repertoire selection. Don't select something TOO depressing, I think the best choice would be the Arietta Op. 12 No. 1. It was also Grieg's favorite melody.

- Nothing incredibly virtuosic.

     Again, this is not a performance for you. Avoid pieces that will show you off. I think Liszt's Liebestraume 3 would be too much. That doesn't mean you have to play something slow.

- If not Grieg...

     How about a Liszt transcription of a Schubert lieder? Depending on your level, this could be very effective. The first thing that comes to mind is Aufenthalt. Short, powerful, not very difficult...Or if you're very talented, I think Gretchen am Spinnrade would fit very well (despite the fact that the story has nothing to do with the event you're playing for).

I agree with some of the other postings on selecting an uplifting piece. Chopin's op. 9 no. 2 would be a perfect example, though I wouldn't want to play that overplayed garbage at a setting like this. But the style fits the bill, as they say. This is all my opinion, take it as you will!

Best wishes,

[tb230]

Maybe I am putting too much into the link between Grieg and 'nationalistic'? For sure, a lot of young Norwegians would recognize and appreciate the folk melodies and songs behind Grieg's pieces. However, the whole attack could seen (very simplified) as an attack on multiculturalism in Norway (and in Europe), and I think that's why I believe Grieg would not be the best choice - you would want to reach all the young people present in the school, also those of a multicultural background.

[minor9th]

I love the elegance and restrained pathos of the Bach-Siloti Prelude in B minor. Listen to Gilel's version on his Carnegie Hall recital. (LP, only, I'm afraid.)

[perfect_pitch]

After all, the prospect of eternal life is...

A lie!

And considering that people believe it with such blind faith is just disturbing. The don't question, they don't query or even think - but give in to some so-called deity who apparently fixes all their problems in the next life.

I hate to say it, but I choose not to give a damn about god. Even if there's an afterlife, I refuse to believe in a god who promises a perfect existence in the life afterwards, but can't give us some peace on the life we're living now.