The Two Elegiac Melodies, Op. 34, (1880) of Norwegian composer Edvard Grieg are string orchestral transcriptions of two songs from his Op. 33 set on texts by Norwegian poet Aasmund Olavsson Vinje. While Grieg has neither expanded nor re-composed the songs for string orchestra, his scoring is so magnificent—so full of poignant touches and tender nuances—that the works sound almost as beautiful in this guise as they did in their original form. The first Elegiac Melody, "The Wounded Heart," begins with two heartbreaking phrases in the minor and closes with two heart-consoling phrases in the major. In three verses, the melody of "The Wounded Heart" is first quietly stated in the violins, then more emphatically in the cellos, then passionately in the violins with an ardent countermelody in the cellos. The second Elegiac Melody, "Last Spring," has one of the most moving tunes Grieg ever composed, a tune that loves the goodness of life and the beauty of the world even as it fades away into infinity. In two verses, "Last Spring" is quintessential Grieg and replete with felicities: the moment when four solo violins take the tune up to the top of the world in the second verse may be the single most affecting passage in all Grieg.

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1.The wounded heart

The Elegiac Melodies (2) for string ensemble date to 1880 and are orchestrations of songs Grieg had written earlier that year. Though the composer had fashioned a version for piano as well, it is the string rendition that is the more popular and, consensus has it, more effective. In many ways, the Elegiac Melodies equal or surpass the songs from which they were drawn. This one, The Wounded Heart, is a transcription of the Op. 33/3 song of the same title, a setting of text by Aasmund Olavsson Vinje. The haunting theme, which surely augurs Sibelius in the pauses breaking up its lyrical flow, is introduced by the violins, then taken up by sobbing cellos. The music soars uncomfortably, as if its sadness worries that more heartbreak lies ahead. The melody is played one final time by the violins, but with greater muscle and passion and with the lower strings underpinning the music with ominous tones. Lasting about two-and-half minutes, this work—in either its orchestral or piano version, or in the original song rendition—is among the most compelling short compositions Grieg ever wrote.

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2.Last Spring

In the period between 1877 - 1880, Grieg produced a set of songs as his Op. 33 on texts by a man some called the peasant-poet of Norway, Aasmund Vinje (1818 - 1870). The composer had been greatly inspired by the then-late poet's verses, so much so that after completing the set, he decided to arrange two of its songs for string orchestra, this one The Last Spring and The Wounded Heart. He made piano versions of them as well. The Last Spring is a sad piece, but sad in the heart-on-sleeve sense of Tchaikovsky, not in the dark, neurotic manner of Mahler. In the song version, the text tells of a dying man who is aware he is observing his last spring. The main theme in the instrumental versions is nostalgic and features considerable expressive depth, especially considering Grieg's penchant for lightness of mood even in melancholy works. It has an air of resignation about it, but as it struggles on, its manner sweetens a bit, nearly suggesting hope. Still, these brighter moments are only fleeting, as the music remains largely dark and anguished. The piano version is perhaps a bit bleaker, but also less lyrical than the warmer string orchestra account. The piece typically lasts about four minutes.

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