Northern Lights and Notes on Grieg's Piano Concerto in A Minor
III. Allegro moderato molto e marcato

Trading slippers for dancing boots

After the quiet dreaminess of II. Adagio, I do not even give you a pause to clear your throat before launching straight into III. Allegro moderato molto e marcato. To follow this finale, listen for how the solo piano acts like a lively village fiddler leading the whole orchestra onto the dance floor. I also give a special spotlight to the solo flute when the music needs a quiet breath of country air, while the brass section waits for its big moment at the very end. The strings, woodwinds, and timpani keep the pulse driving forward, trading melodies with the pianist like dancers swapping partners in a crowded hall.

Marching orders in Italian

I gave III. Allegro moderato molto e marcato its rather long title so the musicians would know exactly what kind of energy I wanted from the very first bar. Allegro moderato means the pace is brisk and lively without turning into a reckless sprint where everyone trips over their own feet. By adding molto e marcato, I am asking the players to stamp out every note with a crisp, heavy accent. If you play a Norwegian folk dance politely on tiptoe, it completely loses its spirit, so that title is my way of asking for plenty of stomp.

A dance sandwich with a grand finale

When I sat down to organize III. Allegro moderato molto e marcato, I built it around a fiery main dance that keeps coming back, wrapping around a peaceful middle tune. We start with a stomping theme in A minor, wander off into a sunlit pasture in F major, and then jump right back into the lively dance. After the pianist shows off with a dazzling solo passage and a thrilling sprint, I bring that gentle middle tune back for a massive finish. Let us walk through each of these sections together so you know exactly what to listen for along the way.

Section 1: Kicking the hat off the stick

I open this first section in A minor with a punchy, energetic rhythm in two-beat time that pulls you out of your seat right away. I modelled the main tune on the halling, a traditional athletic Norwegian folk dance where young men leap into the air to kick a hat off a high pole. As the solo piano and orchestra toss this theme back and forth, you will also hear sharp rhythms and harmonies where I imitate the traditional Norwegian Hardanger fiddle. The whole opening feels earthy and full of mischief, with the pianist hammering out crisp rhythms while the strings and winds egg him on.

Section 2: A quiet breather in the meadow

After all that athletic leaping and stomping, I decided both the musicians and the listeners needed a moment to catch their breath. I shift the music into the warm key of F major and slow the mood down for a singing, pastoral middle theme. A solo flute steps forward first to introduce this gentle melody, sounding like a shepherd calling out across a quiet valley. The solo piano soon picks up the tune and wraps it in soft, rippling notes, letting you enjoy the peaceful view before the boots start stomping again.

Section 3: Back to the dance floor, plus fireworks

Before anyone gets too sleepy in that peaceful meadow, I bring the music back to A minor and restart the energetic halling dance in full force. The orchestra and the pianist dive right back into those crisp, folk-inspired rhythms, building up the excitement until I clear the stage for a solo cadenza. During that solo showcase, the pianist plays all alone with sweeping runs and heavy chords before I push the tempo into a fast, breathless acceleration marked Quasi presto. It feels like the dancers are spinning faster and faster around the room, racing straight toward the final surprise I have waiting at the end.

Section 4: Sunday best for the final bow

Just when the fast dance seems ready to spin off its wheels, I pull the reins back to a broad, majestic pace marked Andante maestoso and brighten the key to A major. Instead of inventing a brand-new tune for the ending, I bring back that gentle pastoral melody from the middle section, only now it is dressed up like royalty. The brass section leads the charge here, blasting the melody out in triumph while the solo piano hammers grand chords from one end of the keyboard to the other. By turning a quiet flute tune into a roaring celebration in A major, I bring the whole Piano Concerto in A Minor home with the biggest smile I could write.

Your turn to join the dance

Now that you know how the pieces fit together, it is time to listen to III. Allegro moderato molto e marcato for yourself. Go ahead and press play, and let those stomping Norwegian dance rhythms and singing melodies sweep you along. As the music unfolds, see if you can spot the Hardanger fiddle imitations, the peaceful flute solo, and its grand return in the brass at the end. I hope you have as much fun following the twists and turns of III. Allegro moderato molto e marcato as I had writing it during that sunny summer in Denmark.