AGATHE BACKER GRØNDAHL (1847-1907): Piano Works - Prélude, Op. 20/1, Sérénade, Op. 15/1, Allegretto, Op. 57/1, Brudeslaat (Lom?),Op. 30/1, Allegretto leggiero, Op. 24/1, 3 Norwegian Folkdances and Folksongs, Op. 30/9-11, Allegretto tranquillo, Op. 24/5, Ride, Ride Franke, Op. 66/1, Laat i Fjellet, Op. 33/3, Intermezzo, Op. 38/2, Souvenir, Op. 39/1, Bruralaat (Valdres), Op. 33/8, Allegretto leggiero, Op. 19/1, Halling, Op. 33/1, Etfarvel, Op. 55/4, Springdans (Vinje), Op. 33/6, Springdans, Op. 30/5, Nocturne, Op. 20/2, Huldreslaatt, Romance, Op. 55.9, I Trollhallen, Op. 44/2, Allegretto, Op. 11/4.

Description: Hailed by George Bernard Shaw as one of the 19th century’s greatest virtuoso pianists, Backer Grøndahl was also a pioneer among women composers, juggling marriage, motherhood and an extensive career. She was taught by Liszt in Weimar, and as one of Norway’s most respected composer-pianists, created a large body of work that displays colorful stylistic variety and poetic breadth. The beautiful Sérénade from Trois Morceaux, Op. 15 may well be Backer Grøndahl’s most popular piano composition, but her concert études are virtuoso masterpieces – the folk-tune arrangements drawn from her Op. 30 and Op. 33 sets illustrate her perceptive absorption of her country’s folk music. The remarkable fairy-tale suite I blaafjellet, Op. 44 is possibly the first impressionist piece by a Norwegian composer. Sara Aimée Smiseth (piano).