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Wedding Day at Troldhaugen by Edvard Grieg, Op. 65 No. 6
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Topic: Wedding Day at Troldhaugen by Edvard Grieg, Op. 65 No. 6
(Read 2053 times)
takomarose
PS Silver Member
Newbie
Posts: 21
Wedding Day at Troldhaugen by Edvard Grieg, Op. 65 No. 6
on: December 14, 2014, 10:51:43 PM
I played this piece in a competition today and I won a trophy (this is my second competition). This is amongst the best of all the times I've played it. I hope you like and would be happy to hear from you!
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erick86
Jr. Member
Posts: 48
Re: Wedding Day at Troldhaugen by Edvard Grieg, Op. 65 No. 6
Reply #1 on: December 14, 2014, 11:52:15 PM
cool.
You rocked it. What a fun piece!
You exhibit great tone and emotion. Very mature performance. Bravo!
Eric
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goldentone
PS Silver Member
Sr. Member
Posts: 1689
Re: Wedding Day at Troldhaugen by Edvard Grieg, Op. 65 No. 6
Reply #2 on: December 18, 2014, 07:49:08 PM
Takomarose, when I was in high school there was a classmate who would play this piece in the band room, and I loved hearing her play it. I had forgotten the name of it, and lo, here it is.
You played wonderfully.
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For in that sleep of death what dreams may come
takomarose
PS Silver Member
Newbie
Posts: 21
Re: Wedding Day at Troldhaugen by Edvard Grieg, Op. 65 No. 6
Reply #3 on: December 19, 2014, 05:05:28 AM
Thank you both! I'm glad I could bring back a happy memory from your school days, goldentone. This week I'm starting on a new piece by Mendelssohn, Scherzo in e minor. I hope to have that ready in a few months!
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liszt1022
PS Silver Member
Sr. Member
Posts: 659
Re: Wedding Day at Troldhaugen by Edvard Grieg, Op. 65 No. 6
Reply #4 on: December 19, 2014, 02:03:49 PM
Congratulations on your trophy. I can tell you enjoy the piece. For the most part you've got good projection of the melody.
Keep an eye out for the dynamic changes, they are -sometimes- gradual, but also sometimes jump out and change suddenly, too, like on the second page especially.
When you go into the alternating hands, don't forget that the LH has the beats. It will help to space all the 16th more evenly. Really open up big at the LH octaves before the return of the theme to get your listeners more excited.
I think the LH at the end of the first section is the hardest part of the piece, don't you? When I played this I did a lot of LH alone work, making sure I could say (or shout) "one and two and three and four and" with a nice steady beat. The tempo of the whole first section had to be determined by how well I could play that page without falling apart.
It looks like you removed some notes from the RH on the first page or two. Is that allowed in competition?
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