Violin Sonata in F-major by Edvard Grieg in the context of national elements and european music achievements

In concert and especially in teaching practice, Edvard Grieg’s Violin Sonata in F Major op. 8, which was written in 1865, is labelled as his youthful composition. Considering the time when it was created, it is an undisputed fact, but such a term has negative connotations and may also make one’s attitude towards artistic explorations within the piece shallower. It is worth to mention here that it was this very Sonata in F Major that attracted the attention of the great Ferenc Liszt. In his article, the author attempts to point to different sources which inspired Grieg during the initial period of his creative life. These influences can be divided into national ones (Norwegian) and European ones (based on the firm roots of the European musical heritage). There is no doubt that the composer is another link in the great Romantic tradition, both in terms of composition technique and form, as well as regular studies at the Conservatory in Leipzig. However, the matters related to the national element are much more difficult to look at using a comprehensive approach. While experiencing and analysing Norwegian folk music, one needs to consider to what extent Grieg’s music draws from it. In this aspect, the author discusses the issue of how well Grieg knew the music from his home country as well as objective obstacles in reflecting its idiom in artistic music. Norwegian folk instruments as such, in this case – the violin: hardingfele, seem an interesting element. These diverse influences were present throughout the whole period of Grieg’s creative work and can be seen already in his youthful Sonata in F Major – even though sometimes they are barely noticeable because of not having a mature form. Nevertheless, the awareness of rich- ness and many layers included in this composition should stimulate performers to study it in a diligent and in-depth way.

Two Orchestral Embodiments of Three Pieces from op. 54 by Edvard Grieg

Lyric Suite is an orchestral version of four movements from Grieg’s Lyric Pieces V, op. 54. Three out of these four movements exist in two orchestral versions. The aim of the current research is to highlight peculiar traits of Grieg’s orchestral style in the late period of composer’s life by comparing scores of two orchestrators.

18. Technical and Interpretive Considerations in the Third Sonata for Violin and Piano, OP. 45 by Edvard Grieg

Considered one of the founders of the Norwegian national music culture, Grieg sought to transpose into his music the grandeur of nature, the simplicity of people and their lives, the richness of fantasy and mythological stories. Edvard Grieg retains in his music essential elements of Norwegian folklore, which he uses in his own language. The third Sonata for violin and piano, op. 45 differs from the other two sonatas created previously, both by the dramatic character of the thematic material, as well as by the massive dimensions and the structure of the form that approaches the classical pattern. Starting with this Sonata, Grieg definitely crystallizes his style in the field of chamber music, revealing a mature language of dramatic essence, in which we find rich and inventive rhythmic and melodic structures, plastic harmonies and bold dissonances, picturesque timbre effects that capture the atmosphere and the specific Norwegian color.

An application and subsequent benefits of digitalisation to pipeline engineering using a 3D pipe-in-pipe bulkhead design project case study

Digitalisation of design processes is being rapidly accepted as a major step-change in engineering of pipelines and components. Incremental digitalisation of best engineering practice, analytical portions of industry codes and iterative optimisation tasks enable multiple advantages over typical project execution models. These include (a) maintaining flexibility throughout the design process to deal with changes particularly at critical interface points, (b) utilising computing power to drive an optimised solution, (c) cost and schedule advantages and (d) development of platforms to implement in future projects. These benefits are demonstrated by detailing an application of Genesis’s small-scale digitalisation strategy, as implemented on a pipe-in-pipe (PiP) bulkhead design in the Edvard Grieg Tie-Backs engineering, procurement, construction and installation development in the North Sea. The application of this strategy involved initial scoping and production of a design platform consisting of three Python modules. The platform enabled full parameterisation of a 3D end-bulkhead finite element analysis modelling process and post-processing criteria. The flexibility of this digitalisation strategy enabled simulations of (a) multiple material configurations, such as the application or removal of corrosion resistant cladding and (b) streamlined execution of highly iterative design processes. Through this platform, parallel execution of detail design and procurement was optimised, leading to achievement of material cost savings while minimising schedule and variation impact. This example of small-scale digitalisation establishes a philosophy for the future execution of PiP design and aligns both strategic and incremental steps towards a larger digitalisation initiative.