ˈgrēg
Grieg如何读
Grieg是什么意思
- n.格雷哥
Grieg英英释义
Noun:
- Norwegian composer whose work was often inspired by Norwegian folk music (1843-1907)
Grieg 例句
1 He illustrates this approach by playing the Wedding Day from Grieg's Lyric Pieces, first in familiar four-square, martial fashion and then in his own style.
2 It was Ibsen, not Grieg, who had the final say as to when incidental music should be used.
3 Pairing the Grieg with the Brahms offered a stark contrast in two faces of passion, one fraught and anxious, the other lyrical and serene.
4 The program included the Prelude to “Cappriccio” by Strauss, sections from the Holberg Suite by Grieg and Mendelssohn’s Sinfonia No. 1 Mr. Owens’s background made for some interesting moments at Aspen.
5 It was rewarding enough to have Mr. Andsnes around to play Mozart, Schubert, Schumann, Janacek, Grieg and many contemporary Scandinavian composers so beautifully.
6 And yet when I was a child, my first favorite composer was the Norwegian Edvard Grieg, who would not make many people’s top 10 lists.
7 The recording includes a thoughtful selection of 12 works from Grieg’s 10 volumes of “Lyric Pieces.”
8 The masterful coherence of some of Grieg's finest music was realized to such purpose that the Lyric Pieces could follow a powerfully concentrated reading of Mozart's profound Adagio with no sense of anticlimax.
9 To counteract the constant hubbub, Grieg built a simple, one-room studio at the water’s edge, and every day he would lock himself inside to be sure he’d get something done.
10 Lim painted these differences vividly finding a tough abruptness for Grieg’s mostly vertical lines, and a generous warmth for the horizontal, almost wistful flow of the Brahms.
11 These exquisite miniatures, enormously popular in Grieg’s time, don’t turn up so much in concert these days.
12 It was impressive in Schumann, Brahms, Grieg, Sibelius and the like, but to European ears less effective in the Viennese classics or the quicksilver exchanges of Janacek and Bartok.
13 If Ms. O’Hara’s singing was a delightful surprise, Mr. Andsnes’s Apollonian account of Grieg’s Piano Concerto, with the Andris Nelsons and the Boston Symphony Orchestra at Carnegie Hall, was an unexpected one.
14 In a 1996 article about some Grieg recordings, I mentioned how much that album had meant to me.
15 The strength of the performance — which ended with two encores, Grieg’s little-known “To the Fatherland” and Schubert’s well-known “Die Forelle” — was due in no small part to the gifts of Baillieu, the pianist.
16 Since then he has taken an unusually eclectic path, recording the concertos and sonatas of Mendelssohn, Grieg, Fauré and Walton on the one hand, while premiering works by cutting-edge contemporary composers on the other.
17 What really hooked me on this recording, though, were Rubinstein’s accounts of 11 of Grieg’s short “Lyric Pieces.”
18 I remember learning a Grieg piano concerto in the wrong key, because my piano was a bit flat.
19 On the Rubinstein recording of solo works by Grieg, there was just one longer piece: the Ballade in G minor, written in theme and variations form.
20 It’s fair to say that they, and not the pianist, are the stars of this Grieg Concerto, with their sumptuous sound, meltingly beautiful orchestral solos and mastery of the score’s dramatic trajectory.