Sigma Alpha Iota

sai-national.org • Winter 2023 23 Norwegian playwright Henrik Ibsen — who was two inches taller than Grieg and wore platform shoes and a top hat — Edvard's stature never phased him. Nina, his wife, was one-half inch taller. Next stop was Grieg's villa that had a veranda (enclosed a year before the composer's death) and the original second-story tower (not accessible to tourists) where he sometimes composed. During Grieg's lifetime, the villa had no telephone or running water. Down a pathway is the former outhouse. Even when electricity was available, Grieg preferred oil lamps to noisy light bulbs. It was only installed in 1911, four years aer his death. e other downstairs rooms had high ceilings — great for acoustics but not for heating. With the exception of two winters in this location, he normally traveled between October and April. His concert schedule — mainly conducting appearances — was extensive. He was susceptible to seasickness, so he chose the shortest sea route on his many voyages to England, from Calais rather than directly from Bergen to Newcastle. He never accepted invitations to conduct in the United States because of the unavoidable Atlantic crossing. Surprisingly, not once did he perform his Piano Concerto in A minor, Op. 16. His health was poor, and when he studied in Leipzig, he had contracted pleurisy, which permanently destroyed one lung; therefore his piano appearances were mainly as accompanist — oen for his wife, Nina, a soprano — or as soloist for his own simpler keyboard works. ere are intriguing memorabilia and original furnishings on display in the villa's three rooms downstairs: dining room, sitting room, and Memory Room, which, until 1953, was the kitchen and adjoining maids' quarters with bunk beds. Among other portraits hanging on the wall was one of Ole Bull, the entrepreneur violinist who recognized Grieg's talent and suggested he study in Leipzig. (Incidentally, Bull's nearby museum in Lysoen is closed for renovation but anticipated to reopen in 2023.) Of note in a glass showcase was a silver bowl from his publisher, an appropriate 25th Wedding Anniversary gi. Another present for this occasion—an 1892 Steinway grand piano from friends in Bergen — is still used for private concerts. John, my tour guide, shared an anecdote about this instrument. Two decades ago, he hosted a photographer taking pictures to accompany e New York Times article about Norway. While the gentleman was clicking away, John sat down at the piano and played one of Grieg's pieces as he waited for the photographer to take all the shots he wanted to get. Only aer the article was later published did he realize that a photo of him playing the piano that day had been taken and was chosen for a page in the travel section. His boss was quite surprised to say the least! To keep fit, Grieg hiked down to his unpretentious studio. Aer seeing the interior, particularly observing the book of Beethoven's sonatas that served as his piano bench cushion to play the upright piano, I climbed back up the twenty-nine steps spaced erratically. It was another twenty-seven steps down to his grave site. During my visit, a gardener in a bright orange outfit was blowing off debris in preparation for the Constitution Day celebration on May 17th a few days hence — when the municipality puts a laurel wreath on his grave. Chosen by Grieg himself, the location is the property edge that gets the last rays before sunset. I had to look up to find the atypical grave in the cliff. Inside are urns with ashes for Edvard and Nina (who died in 1935 at age 90). Carved on the rock is "Edvard og Nina Grieg." Returning to the museum building, I enjoyed a glass of delicious apple juice before looking at the exhibits. On the outside wall, there is a time line with events in Grieg's life above and world events underneath. Formerly, Grieg's music was played at each display inside the area, but though the compositions are still listed on the walls, the sound system no longer functions. John said this part of the museum needs renovation. Nonetheless, the signage in both Norwegian and English described each of the items, though the glare from the glass made it difficult to photograph them. I especially enjoyed seeing Grieg's fancy Parisian christening robe and a lock of his hair. I bade my expert guide farewell and then sat in the small viewing room to watch a DVD with scenes from Norway accompanied by Grieg's music (including selections from Peer Gynt). I chose not to purchase any Grieg talisman—a rubber frog, troll, or pig in the gi shop; instead I bought a paper weight with the rose design from the stained-glass window in the villa's enclosed veranda. Grieg's music is beloved and oen featured in movie soundtracks, including — coincidentally — one about a pig: the 1995 box office smash hit Babe. Even though he composed many popular compositions, Grieg referred to Troldhaugen as his "best opus so far." Aer my memorable time there, I can understand why. Jayne I. Hanlin is an initiate of Alpha Omicron and current member of the St. Louis Alumnae chapter. Mrs. Hanlin, the sister of famed pianist Malcolm Frager, is the co-author of Learning Latin Through Mythology (Cambridge University Press, 1991). A Wld of Music Inside the Grieg villa Inside the Grieg villa

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