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If you regularly tune in to Classic 107, chances are you’ve encountered the enchanting music of Norwegian composer Agathe Backer Grøndahl. And with March being International Women’s History Month, there’s no better time to celebrate this remarkable 19th-century pianist and composer, whose contributions to classical music have too often been eclipsed by her male counterparts.
A true trailblazer of her time, Backer Grøndahl was hailed by none other than George Bernard Shaw as one of the greatest virtuosos of her era. A prolific composer, she penned more than 400 works, many of which remain hidden gems within the classical repertoire. Yet, despite her accomplishments, her name is often missing from mainstream classical programming—a reality that Norwegian pianist Sara Aimée Smiseth is determined to change.
Uncovering a Legacy
Smiseth, a passionate pianist and storyteller, has dedicated much of her career to uncovering music’s forgotten histories. Her debut solo album highlights Backer Grøndahl’s compositions, bringing to life their poetic depth, technical brilliance, and innovative harmonies.
“I’ve always been a bit of a music history nerd,” Smiseth said. “I like going to the library and finding new music, and I also remember this name, Agathe Backer Grøndahl kept coming up, but like many female composers of the 19th century, she was often reduced to a footnote.”
It wasn’t until the COVID-19 pandemic that Smiseth had the time to truly dive into Backer Grøndahl’s legacy. She came across a 2008 PhD thesis by Norwegian music researcher Camilla Hambro, which provided invaluable insights into the composer’s life and work.
A Student of Liszt and Friend of Grieg
Backer Grøndahl’s musical journey was anything but ordinary. She studied under Franz Liszt for a summer—something even many Norwegian musicians don’t realize, according to Smiseth.
“Agathe Backer Grøndahl was really good at networking. She had had some teachers in Berlin when she was a student there, and she would get their recommendations and use them to get in touch with new teachers. And that's how she when she came to Weimar in Germany to meet with Liszt. That city was full of young and more or less promising other pianists who wanted to meet him, but she had recommendations from people in Copenhagen and Sweden and Germany, so she could meet him directly, and spend the whole summer with him as a student.
Grieg and Backer Grøndahl maintained a lifelong friendship, exchanging compositions and ideas. “They likely influenced each other,” Smiseth noted. “Grieg may have been the more famous figure, but they had a deep musical connection.”
Balancing Family and Fame
Unlike many of her female contemporaries, Backer Grøndahl found a way to balance a thriving performance career with her personal life. She married and had three children yet continued to compose and tour—albeit with a greater focus on Norwegian audiences.
“She had this fascinating ability to craft a public image that worked in her favour,”Smiseth said. “The fact that she was a mother meant that she was probably a little less abroad than many other male colleagues, but I found that she was touring a lot more in Norway, and I think in many cases that meant that she had a much closer relationship with the Norwegian public. She also got the chance to collect a lot of folk music in Norway, which is not very well known. “
This domestic persona allowed her to have a significant impact on Norway’s musical culture. While many of her male colleagues toured abroad, she performed extensively in Norway, fostering a close relationship with her home audience and collecting Norwegian folk music.
A Norwegian Soundscape
One of Backer Grøndahl’s greatest contributions was her incorporation of Norwegian folk elements into her compositions. Smiseth’s album highlights this, particularly in pieces like Norwegian Folk Dances, which echo the styles of traditional Norwegian Hardanger fiddle music.
“There’s a misconception that she wasn’t interested in folk music,” Smiseth said. “But she actively collected and arranged folk tunes, much like Grieg. Her interpretations bring a unique voice to the Norwegian nationalist movement in music.”
More Than Miniatures
While Backer Grøndahl is best known for her lyrical miniatures and songs, she composed larger works as well, including a 20-minute suite, several concert études, and even a choral and work. Many of her manuscripts remain unpublished, awaiting rediscovery.
“I’ve been exploring her unpublished works in the National Library of Norway,” Smiseth revealed. “There are arrangements for different ensembles that no one has performed in modern times. It’s exciting to think there are still gems left to uncover.”
Through her album and ongoing performances, Smiseth is bringing new attention to Backer Grøndahl’s legacy. By highlighting her compositions and sharing her story, she hopes to give the composer the recognition she deserves.
The Challenges of Capturing Nuance
Smiseth’s album, recorded during the pandemic, presented unique artistic challenges. Bringing out the subtle nuances in Backer Grøndahl’s music, particularly in her character pieces, required careful interpretation.
“The more I perform them, the more I discover,” she said. “In many ways, I wish I could record the entire CD one more time because now I want to emphasize different aspects. But I think that’s always the case with recordings—you keep evolving.”
Blending Musicology and Performance
In addition to performing, Smiseth is an accomplished musicologist with a degree from the University of Oslo. She has a particular passion for lecture-concerts, a format that allows her to provide audiences with historical and musical context while performing the works themselves.
“The storytelling affects how people listen to the music, and the music affects how they hear the storytelling,” she noted. “I love the process of creating a brand-new concert experience where history and performance intertwine.”
A Warm Reception Worldwide
Since releasing her debut album, Smiseth has toured internationally, performing Backer Grøndahl’s works for new audiences. The response, she said, has been overwhelmingly positive.
“I’m almost surprised by how warmly people receive this music,” she said. “It helps that I present it alongside the story of her life, but the music itself still resonates just as it did in the 19th century.”
For those curious to explore Backer Grøndahl’s music, Smiseth encourages pianists to seek out her works, many of which are available for free on the IMSLP website.
“I hope more pianists will take a look and give her music a go,” she said.
As she continues to perform and share Backer Grøndahl’s works with the world, Smiseth remains proud that her debut album is dedicated to this underappreciated composer.
“I’m happy that this is my debut album,” she said. “It’s a privilege to present her music and see how much people still love it.”
As we celebrate International Women’s History Month, it’s the perfect moment to rediscover pioneers like Agathe Backer Grøndahl—women whose contributions to classical music deserve to be played, heard, and remembered.