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Peer Gynt
Theatre score & suites by Edvard Grieg
The composer (c. 1879)
Opus
  • 23 (full score)
  • 46 (Suite No. 1)
  • 55 (Suite No. 2)
TextPeer Gynt (1867), by Henrik Ibsen
LanguageNorwegian
Composed1874 (1874)–1875
PublisherPeters (1888, Op. 46); 1892, Op. 55)
Premiere
Date24 February 1876 (1876-02-24) (full score)
LocationChristiania Theatre
Christiania, Norway
ConductorJohan Hennum [no]
PerformersChristiania Theatre Orchestra

Peer Gynt, Opp. 23 (full score), 46 (Suite No. 1), and 55 (Suite No. 2), is incidental music for soloists, mixed choir, and orchestra written from 1874 to 1875 by the Norwegian composer Edvard Grieg.

The full score premiered in Christiania (now Oslo), Norway on 24 Feburary 1876 at the Christiania Theatre; Johan Hennum [no] conducted the in-house orchestra.[1]

History

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Composition

[edit]
  • Isben wrote to Grieg on 23 January 1874: "I intend to arrange Peer Gynt ... for the stage. Would you consent to write the music required for this?"[2]
  • Isben had written the drama (not originally intended for the stage) in 1867. An earlier attempt by Isben in 1870 to realize a stage performance,[2] but this seems to have failed. By four years later, at the suggestion of Ludvig Josephson, who was the director of the Christiania Theatre, Isben tried anew. Isben, who had first met Grieg in Rome in 1866 but was not close with the composer, thought him the most appropriate man for the job.[2]
  • Grieg immediately accepted Isben's offer, as it was financially lucrative and he relished the opportunity to work on such an important and prestigious project.[2]
  • The task, however, taxed Grieg: "The task is much larger than I had imagined, and at certain points I am // encountering difficulties that bring me to a standstill", Grieg wrote Josephson on 28 August 1874. And to his friend Frants Beyer on 27 August: "The subject matter is terribly cumbersome, with the exception of a few places such as when Solveig sings". And "it was the most unmusical of all subjects" and weighted on Grieg "like a nightmare", according to two letters to Bjørnstjerne Bjørnson from 1 October 1874 and 2 January 1895. And he confided to August Winding on 5 April that "Peer Gynt ... doesn't interest me.[3]
  • Grieg finally completed the score the the summer of 1875, after 18 months of labor; he wrote on 27 July to Isben that the music was ready to send.
  • On 12 April 1876, following the premiere, he admitted to Johan Selmer [no] that he had been "forced to abandon his artistic ideals in order to 'gratify the weak orchestra and to highlight crowd-pleasing stage effects. Had I felt that I was standing before my better self, I should naturally have attended the premiere, to have my intentions put into effect. But as things stand I am sure you understand that I have preferred to stay away'".[1]

Premiere

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Structure and roles

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Peer Gynt is a stage drama in five acts, each of which features original incidental music by Grieg. Although the play includes dozens of roles,[4] only a few are important to Grieg's score, either as vocalists (songs) or actors (dialogue spoken during musical numbers).[5] The principal roles are Peer Gynt (one song),[6] Solveig (three),[7] Åse (none), and Anitra (one).[8]

Roles[4] Description[4] Appearances Voice type[9] Premiere cast
(24 February 1876)[10]
in English in Norwegian
Peer Gynt A peasant, son of Åse and John
  • Act I, Scenes 1–3
  • Act II, Scenes 1, 3–8
  • Act III, Scenes 1, 3–4
  • Act IV, Scenes 1–2, 4–9, 11–13
  • Act V, Scenes 1–11
 Baritone Henrik Klausen [no]
Åse A peasant, widow of the late John Gynt
  • Act I, Scenes 1, 3
  • Act II, Scene 2
  • Act III, Scenes 2, 4
  • Act V, Scene 6 (voice only)
 — Sofie Parelius
Solveig A peasant, Peer's true love
  • Act I, Scene 3
  • Act II, Scenes 2, 8
  • Act III, Scene 3
  • Act IV, Scene 10
  • Act V, Scenes 5, 11
 Soprano Thora Hansson[a]
First herd-girl Første sæterjente Amorous dairymaids in the mountains Act II, Scene 3 Amalie Døvle [no]
Second herd-girl Annen sæterjente Camilla Wiese[b]
Third herd-girl Tredje sæterjente Mezzo-soprano Hanna Ehn [no]
The Woman in Green Den grønnkledde Troll princess, daughter of the Mountain King
  • Act II, Scenes 5–6
  • Act III, Scene 3
 — Lucie Wolf
The Mountain King Dovregubben Ruler of the mountain trolls Act II, Scene 6 — Johannes Brun
A Voice Een stemme The Bøyg Act II, Scene 7 — ?
Thief Tyven — Act IV, Scene 5 Bass/Baritone Johannes Brun
Receiver Heleren — Jacob Hveding Asmundsen [no]
Anitra Daughter of a Bedouin chief, Peer's muse Act IV, Scenes 6–8 Mezzo-soprano Rosa Asmundsen
Elisabeth Klausen [no][c]

Theatre score, Op. 23

[edit]
Henrik Klausen [no] and Sofie Parelius created the roles of Peer and Åse, respectively, for the 24 February 1876 premiere.
Klausen with the three herd-girls (from left: Amalie Døvle [no], Camilla Wiese, and Hanna Ehn [no]) in Act II, Scene 3.

Grieg's incidental music to Isben's Peer Gynt includes 26 original musical numbers.[1] A twenty-seventh number reprises—as was the composer's preference—Åse's Death (Åses død) during the Act III deathbed melodrama between Peer Gynt and his dying mother.[12] The list below includes these 27 numbers:[13]

Act I

  • Prelude (Forspill): At the Wedding (I bryllupsgården). Allegro con brio[14]
  • Scene 2: Halling. Allegretto [includes spoken dialogue, Hardanger fiddle played offstage][15]
  • Scene 3: Springar. Allegro vivace [includes dialogue, Hardanger fiddle played offstage][16]

Act II

  • Prelude (Forspill): The Abduction of the Bride (Bruderovet) – Ingrid’s Lament (Ingrids klage). Allegro furioso – Andante[17] ‡
  • Scene 3: Peer Gynt and the Herd-girls (Peer Gynt og seterjentene): "Trond i Valfjeldet! Bård og Kåre! ..." ("Trond of Valfjeld! Bård and Kåre! ..."),[18] for two sopranos and mezzo-soprano. Allegreo marcato [includes dialogue][19]
  • Scene 5: Peer Gynt and the Woman in Green (Peer Gynt og Den grønnkledte). Andante [includes dialogue][20]
  • Scene 5: "You can tell great men by the style of their mounts!" ("På ridestellet skal storfolk kjendes!"). Presto[21]
  • Scene 6: In the Hall of the Mountain King (I Dovregubbens hall): "Slagt ham! Kristenmands søn ..." ("Kill him! The Christian's son ..."),[22] for mixed choir. Alla marcia e molto marcato [includes dialogue][23] †
  • Scene 6: Dance of the Mountain King's Daughter (Dans av Dovregubbens datter). Allegretto alla burla[24]
  • Scene 6: Peer Gynt Chased by the Trolls (Peer Gynt jages av troll): "Tomtegubber! Nisser! Bid ham bag! ..." ("Goblins! Pixies! Bite his bum! ..."),[25] for mixed choir. Presto [includes dialogue][26]
  • Scene 7: Peer Gynt and the Bøyg (Peer Gynt og Bøygen). Andante [includes dialogue][27]

Act III

  • Prelude (Forspill): Åse's Death (Åses død). Andante doloroso[12] †
  • Scene 4: Åse's Death (Åses død) [reprised,[12] includes dialogue]

Act IV

  • Prelude (Forspill): Morning Mood (Morgenstemning). Allegretto pastorale[28]  †
  • Scene 5: The Thief and the Receiver (Tyven og heleren): "Lanserens tunger ..." ("The tongues of the lances ..."),[29] for tenor and baritone. Presto[30]
  • Scene 6: Arabian Dance (Arabisk dans): "Profeten er kommen! ..." ("The prophet has come! ..."),[31] for mezzo-soprano and mixed choir. Allegretto vivace[32] ‡
  • Scene 6: Anitra's Dance (Anitras dans). Tempo di Mazurka[33] †
  • Scene 7: Peer Gynt's Serenade (Peer Gynts serenade): "Jeg stængte for mit Paradis ..." ("I locked up my Paradise ..."),[34] for baritone. Poco Andante – Allegretto[35]
  • Scene 8: Peer Gynt and Anitra (Peer Gynt og Anitra). Allegro vivace [includes dialogue][36]
  • Scene 10: Solveig's Song (Solveigs sang): "Kanske vil der gå både vinter og vår ..." ("Perhaps both winter and spring will pass ..."),[9] for soprano. Un poco Andante[37] ‡ ±
  • Scene 11: Peer Gynt at the Statue of Memnon (Peer Gynt ved Memnonstøtten). Largo [includes dialogue][38]

Act V

  • Prelude (Forspill): Peer Gynt's Homecoming (Peer Gynts hjemfart) – Stormy Evening on the Sea (Stormfull aften på havet). Allegreo agitato[39] ‡
  • Between Scenes 1 and 2: The Shipwreck (Skipsforliset). Allegro moderato[40]
  • Scene 5: Solveig Sings in the Hut (Solveig synger i hytten): "Nu er her stellet til Pinsekveld ..." ("Now everything is ready for Whitsun ..."),[41] for soprano [without tempo marking][42]
  • Scene 6: Night Scene (Nattscene): "Vi er tanker, du skulde tænkt os ..." ("We are thoughts, you should have thought us ..."),[43] for female choir. Adagio – Un poco Allegro [includes dialogue][44]
  • Scene 10: Whitsun Hymn (Pinsesalme): "Velsignede morgen ..." ("Oh blessed morning ..."),[45] for mixed choir [without tempo marking][46]
  • Scene 10: Solveig's Cradle Song (Solveigs vuggevise): "Sov du, dyreste gutten min! ..." ("Sleep, my dearest boy! ..."),[47] for soprano. Lento[48] ±

† = Later incorporated into Suite No. 1, Op. 46
‡ = Later incorporated into Suite No. 2, Op. 55
± = Later incorporated into the Six Songs with Orchestra, EG 177/1–2

Some productions also include the Norwegian Bridal Procession (Brudefølget drar forbi; Op. 19/2) as a twenty-eighth number, which is not original to Peer Gynt. (Originally for solo piano, Grieg added this piece in 1886 to subsequent productions of the play, although he outsourced the orchestration to the Danish composers Georg Bohlmann and Robert Henriques [da]; in 1908, the Norwegian composer Johan Halvorsen made his own arrangement, which supplanted the Bohlmann–Henriques version.)[49]

  • Scene 2: Norwegian Bridal Procession (Brudefølget drar forbi), Op. 19/2

Excerpted suites, Opp. 46 and 55

[edit]

In 1888, the Leipzig-based firm C. F. Peters published Grieg's Peer Gynt Suite No. 1. It includes the following four numbers:

  1. Morning Mood (Morgenstemning). Allegretto pastorale (E major)
  2. The Death of Åse (Åses død). Andante doloroso (B minor)
  3. Anitra's Dance (Anitras dans). Tempo di Mazurka (A minor)
  4. In the Hall of the Mountain King (I Dovregubbens hall). Alla marcia e molto marcato (B minor)

Four years later, in 1892, Peters published Grieg's Peer Gynt Suite No. 2. It, too, includes four numbers:

  1. The Abduction of the Bride (Bruderovet). Ingrid's Lament (Ingrids klage). Allegro furioso – Andante (G minor)
  2. Arabian Dance (Arabisk dans). Allegretto vivace (C major)
  3. Peer Gynt's Homecoming (Stormy Evening on the Sea) (Peer Gynts hjemfart (Stormfull aften på havet)). Allegro agitato (F-sharp minor)
  4. Solveig's Song (Solveigs sang). Andante – Allegretto tranquillamente (A minor)

Synopsis

[edit]
In Ibsen's "Peer Gynt", the village community banishes the titular character for the crime of bridal abduction. As a result, Peer takes refuge in the neighboring mountains.

Act I opens with Peer, a young man of twenty, arguing with his mother, Åse; he has returned from an reindeer hunt without his gun, clothed in rags, and without venison,

  • Act I

Peer Gynt is the son of the once-highly regarded Jon Gynt, who spent all his money on feasting and living lavishly and had to leave his farm to become a wandering salesman, leaving his wife and son behind in debt. Åse, his wife, wished to raise her son to restore the lost fortune of his father, but Peer is soon considered to be useless, a poet and a braggart. As the play opens, Peer gives an account of a reindeer hunt that went awry. His mother taunts him for having spoiled his chances with Ingrid, the daughter of the richest farmer. Peer leaves for Ingrid's wedding, because he may still get a chance with the bride. His mother follows quickly to stop him from shaming himself.

At the wedding, the other guests taunt and laugh at Peer. Peer meets a family of Haugean newcomers from another valley. He instantly notices the elder daughter, Solveig, and asks her to dance. She refuses because her father would disapprove, and because Peer's reputation has preceded him. She leaves, and Peer starts drinking. When he hears the bride has locked herself in, he seizes the opportunity, runs away with her, and spends the night with her in the mountains.

  • Act II

Peer is banished for bride napping. As he wanders the mountains, Peer meets three amorous dairymaids who are waiting to be courted by trolls. He becomes highly intoxicated with them and spends the next day alone suffering from a hangover. He runs head-first into a rock, and the rest of the second act probably takes place in his dreams. He next comes across a woman clad in green, who claims to be the daughter of the troll mountain king. Together they ride into the mountain hall, and the troll king gives Peer the opportunity to become a troll if Peer would marry his daughter. Peer agrees to a number of conditions, but declines in the end. He is then confronted with the fact that the green-clad woman has become pregnant. Peer denies this; he claims not to have touched her, but the wise troll king replies that he begat the child in his head. He then meets the Bøyg. Asked the question "Who are you?" the Bøyg answers, "Myself". In time, Peer also takes the Bøyg's important saying as a motto: "Go around". For the rest of his life he "beats around the bush" instead of facing himself or the truth. Upon awaking, Peer is confronted by Helga, Solveig's sister, who gives him food and regards from her sister. Peer gives the girl a silver button for Solveig to keep and asks that she not forget him.

  • Act III

As an outlaw, Peer struggles to build his own cottage in the hills. Solveig turns up and insists on living with him. She has made her choice, she says, and there will be no return for her. Peer is delighted and welcomes her, but as she enters the cabin, an old-looking woman in green garments appears with a limping boy at her side. This is the green-clad woman from the mountain hall, and her half-human brat is the child begotten by Peer from his mind during his stay there. She has cursed Peer by forcing him to remember her and all his previous sins, when facing Solveig. Peer hears a ghostly voice saying "Go roundabout, Peer", and decides to leave. He tells Solveig he has something heavy to fetch. He returns in time for his mother's death, and then sets off overseas.

  • Act IV

Peer is away for many years, taking part in various occupations and playing various roles, including that of a businessman engaged in enterprises on the coast of Morocco. Here, he explains his view of life, and we learn that he is a businessman taking part in unethical transactions, including sending heathen images to China and trading slaves. In his defense, he points out that he has also sent missionaries to China, and he treated his slaves well. His companions rob him, after he decides to support the Turks in suppressing a Greek revolt, and leave him alone on the shore. He then finds some stolen Bedouin gear, and, in these clothes, he is hailed as a prophet by a local tribe. He tries to seduce Anitra, the chieftain's daughter, but she steals his money and rings, gets away, and leaves him.

Then he decides to become a historian and travels to Egypt. He wanders through the desert, passing the Colossi of Memnon and the Sphinx. As he addresses the Sphinx, believing it to be the Bøyg, he encounters the keeper of the local madhouse, himself insane, who regards Peer as the bringer of supreme wisdom. Peer comes to the madhouse and understands that all of the patients live in their own worlds, being themselves to such a degree that no one cares for anyone else. In his youth, Peer had dreamt of becoming an emperor. In this place, he is finally hailed as one — the emperor of the "self". Peer despairs and calls for the "Keeper of all fools", i.e., God.

  • Act V

Finally, on his way home as an old man, he is shipwrecked. Among those on board, he meets the Strange Passenger, who wants to make use of Peer's corpse to find out where dreams have their origin. This passenger scares Peer out of his wits. Peer lands on shore bereft of all of his possessions, a pitiful and grumpy old man. Peer attends a peasant funeral and an auction, where he offers for sale everything from his earlier life. The auction takes place at the very farm where the wedding once was held. Peer stumbles along and is confronted with all that he did not do, his unsung songs, his unmade works, his unwept tears, and his questions that were never asked. His mother comes back and claims that her deathbed went awry: he did not lead her to heaven with his ramblings.

Peer is confronted by the Button-molder, who maintains that Peer's soul must be melted down with other faulty goods unless he can explain when and where in life he has been "himself". Peer protests. He has been only that, and nothing else. Then he meets the troll king, who states that Peer has been a troll, not a man, most of his life. The Button-molder says that he has to come up with something if he is not to be melted down. Peer looks for a priest to whom to confess his sins, and a character named "The Lean One" (who is the Devil) turns up. The Lean One believes Peer cannot be counted a real sinner who can be sent to Hell; he has committed no grave sin. Peer despairs in the end, understanding that his life is forfeit; he is nothing. But at the same moment, Solveig starts to sing—the cabin Peer built is close at hand, but he dares not enter. The Bøyg in Peer tells him "go around". The Button-molder shows up and demands a list of sins, but Peer has none to give, unless Solveig can vouch for him. Then Peer breaks through to Solveig, asking her to forgive his sins. But she answers: "You have not sinned at all, my dearest boy."

Peer does not understand—he believes himself lost. Then he asks her: "Where has Peer Gynt been since we last met?" She answers: "In my faith, in my hope, in my love." Peer screams, calls for his mother, and hides himself in her Solveig's lap. Solveig sings her lullaby for him, and he presumably dies in this last scene of the play, although there are neither stage directions nor dialogue to indicate that he actually does.

Instrumentation

[edit]

The incidental music to Peer Gynt is scored for the following instruments and voices,[50] organized by family (vocalists, woodwinds, brass, percussion, and strings):

Suite No. 1 is scored for piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, cymbals, bass drum, triangle, and strings (first and second violins, violas, cellos, and basses). Suite No. 2 retains its predecessor's scoring, albeit with the addition of harp, snare drum, and tambourine.

Music

[edit]

Morning Mood

[edit]
{\new PianoStaff {<< \new Staff \relative c'{\set Staff.midiInstrument=#"flute" \time 6/8 \set Score.tempoHideNote = ##t \tempo "Allegretto pastorale" 4=60 \autoBeamOff \clef treble \key e \major ^\markup {Flute I} |\p |b''8([gis8 fis8] e8[fis8 gis8])|(b8[ \appoggiatura { gis16([a16]} gis8 fis8] e8[fis16 gis16 fis16 gis16])|\grace { gis16([a16]} \< b8)([gis8 b8]) \! cis8 \> ([gis8 cis8]) \!|b8([gis8 fis8] e4) r8|}>>}}
Measures 1–4 of Morning Mood[51][28]

Åse's Death

[edit]
{\new PianoStaff {<< \new Staff \relative c'{\set Staff.midiInstrument=#"violin" \time 4/4 \set Score.tempoHideNote = ##t \tempo "Andante doloroso" 4=50 \autoBeamOff \clef treble \key b \minor ^\markup {Violin I \italic{\smaller {con sordino}}} |\p fis4(b4) cis2|fis,4(b4) cis2|d4(cis4) b4(cis8[d8])|e4(d4 cis4.) r8|\pp \upbow fis,4(b4 cis2)|fis,4(b4 cis2)|e4(d4 cis4 d8[e8])|ais,4(b2) r4|} \new Staff \relative c'{\set Staff.midiInstrument=#"violin" \time 4/4 \autoBeamOff \clef treble \key b \minor ^\markup {Violin II \italic{\smaller {con sordino}}} |\p fis2 fis2|fis2 fis2|d4(cis4) b4(cis8[d8])|e4(d4 cis4.) r8|\pp \upbow fis2(eis2)|fis2(eis2)|e4(d4 cis4 d8[e8])|ais,4(b2) r4|} \new Staff \relative c'{\set Staff.midiInstrument=#"viola" \time 4/4 \autoBeamOff \clef alto \key b \minor ^\markup {Viola \italic{\smaller {con sordino}}} |\p b2 ais2|b2 ais2|b2 b2|b2(ais4.) r8|\pp \upbow b2(b2--)|b2(b2--)|b2( ais4 b8[cis8])|fis4(fis2) r4|} \new Staff \relative c'{\set Staff.midiInstrument=#"cello" \time 4/4 \autoBeamOff \clef bass \key b \minor ^\markup {Cello \italic{\smaller {con sordino}}} |\p d,4(fis4) cis2|d4(fis4) cis2|d4(e8[fis8]) g4(fis4)|e4(fis8[gis8] cis,4.) r8|\pp \upbow d4(fis4 cis2)|d4(fis4 cis2)|e4(fis8[gis8] ais4 gis8[g8])|fis8([e8] d2) r4|} \new Staff \relative c'{\set Staff.midiInstrument=#"contrabass" \time 4/4 \autoBeamOff \clef bass \key b \minor ^"Bass" |\p b,4(d4) fis2|b,4(d4) fis2|b,4(cis8[d8]) e4(d4)|cis4(d8[e8] fis4.) r8|\pp \upbow b,4(d4 g2)|b,4(d4 g2)|cis,4(d8[e8] fis4 e4)|d8([cis8] b2) r4|}>>}}
Measures 1–8 of Åse's Death[52][12]

Anitra's Dance

[edit]
{\new PianoStaff {<< \new Staff \relative c'{\set Staff.midiInstrument=#"violin" \time 3/4 \set Score.tempoHideNote = ##t \tempo "Tempo di Mazurka" 4=160 \autoBeamOff \clef treble \key a \minor ^\markup {Violin I \italic{divisi}} | <<\relative{\partial 4 \p e''4 \upbow|\appoggiatura{a16([b16]} a8-.)[gis8-. a8-. b8-.( c8-. d8-.)]|e8([a8]) e4--(d4-- \trill)|c8([e8]) c4 \upbow b4( \trill|a2) r4|_\markup {\italic{cresc.}} \(a8-> \downbow ([c8]) a4-- g4-- \trill \)|\(fis8([c'8]) fis,2--\)|_\markup {\italic{dim.}} \(f!8->([c'8]) f,4--(e4-- \trill) \)|\(dis8([b'8]) dis,2--\)|} \relative{\partial 4 \p e'4 \upbow|\appoggiatura{a16([b16]} a8-.)[gis8-. a8-. b8-.( c8-. d8-.)]|e8([a8]) e4--(d4-- \trill)|c8([e8]) c4 \upbow b4( \trill|a2) r4|}>>} \new Staff \relative c'{\set Staff.midiInstrument=#"cello" \time 3/4 \autoBeamOff \clef bass \key a \minor ^"Cello I" |\partial 4 r4|r4 r4 \p e,4|\appoggiatura{a16([b16]} a8-.)[gis8-. a8-. b8-.( c8-. d8-.)]|e8([a8] e4 d4)|c8([e8] c2)|f2->(e4)|dis2.|a'!2->(g4)|fis2 r4|}>>}}
Measures 69–76 of Anitra's Dance[53]

In the Hall of the Mountain King

[edit]
{\new PianoStaff {<< \new Staff \relative c'{\set Staff.midiInstrument=#"pizzicato strings" \time 4/4 \set Score.tempoHideNote = ##t \tempo "Alla marcia e molto marcato" 4=138 \autoBeamOff \clef bass \key b \minor ^\markup {Cello \italic{\smaller {pizzicato}} and Bass \italic{\smaller {pizzicato}}} |\p b,8[cis8 d8 e8] fis->[d8] fis4|eis8->[cis8] eis4 e8->[c8] e4|b8[cis!8 d8 e8] fis8[d8 fis8 b8]|a8->[fis8 d8 fis8] a4-> r4|} \new Staff \relative c'{\set Staff.midiInstrument=#"bassoon" \time 4/4 \autoBeamOff \clef bass \key b \minor ^"Bassoon I and II" |\pp <<b,4-. b,4-.>> <<fis'4-. fis'4-.>> <<b,4-. b,4-.>> <<fis'4-. fis'4-.>>|<<b,4-. b,4-.>> <<fis'4-. fis'4-.>> <<b,4-. b,4-.>> <<fis'4-. fis'4-.>>|<<b,4-. b,4-.>> <<fis'4-. fis'4-.>> <<b,4-. b,4-.>> <<fis'4-. fis'4-.>>|<<d4-. d,4-.>> <<a''4-. a,4-.>> <<d4-. d,4-.>> <<a''4-. a,4-.>>|}>>}}
Measures 2–5 of In the Hall of the Mountain King[54][23]

Arabian Dance (orchestral version)

[edit]
{\new PianoStaff {<< \new Staff \relative c'{\set Staff.midiInstrument=#"violin" \time 4/4 \set Score.tempoHideNote = ##t \tempo "Allegretto vivace" 4=132 \autoBeamOff \clef treble \key c \major ^\markup {Violin I} |\partial 4 \p e4|e'2(~e8[d16 c16] b8[c16 b16])|a4(e4) r4 e4|e'8[c16 d16] e4~(e8[d16 c16] b8[c16 b16])|a4(e4) r2|b'4 b8--[b8--] d2|b4 b8--[b8--] d2|b4 b8--[b8--] d4(b4)|r4 ^\markup{\italic{poco rit.}} b4 \downbow d4(b4)|} \new Staff \relative c'{\set Staff.midiInstrument=#"cello" \time 4/4 \autoBeamOff \clef bass \key c \major ^"Cello" |\partial 4 r4|e,2(f2)|e2(a4 e4)|e4(a4 g4 f4)|e2(a4 e4)|b'2 fis4.(b8)|b2 fis4.(b8)|b2. b4|d4(^\markup{\italic{poco rit.}} b2) b4|}>>}}
Anitra's Song (Measures 46–53) of the Arabian Dance King[55]

Solveig's Song (orchestral version)

[edit]
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Measures 9–13 of Solveig's Song[56]

Discography

[edit]

Really helpful review from NYT in 1991 comparing the recordings

Incidental music (complete)

[edit]

Recordings of the *complete* incidental music:

  • Appears Per Dreier was first (indeed, the disc refers to the performance as the "premier recording of the complete music for Ibsen's dramatic poem", although it excludes spoken dialogue. A few notes:
  1. Has "Peer Gynt and the Dairymaids" sung is not by three female soloists but rather by female choir
  2. Omits the duplication of "Åse's Death" [first as a prelude] that Ruud–BIS and Engeset–Naxos include
  3. Calls "Peer Gynt at the Statue of Memnon" instead "Deep in the Pine Forest" (same music but in a different spot in the performance [Salonen–Sony Classical do the same])
  4. Most curiously, includes two additional numbers that I cannot match to Ruud–BIS and Engeset–Naxos: in Act IV "Melodrama" and in Act V "Day Scene"
  5. Most inexplicably, includes as an interpolation between "In the Hall of the Mountain King" and "The Mountain King's Daughter" The Norwegian Dances Nos. 1–3!
  1. Includes the most spoken dialogue, indeed many, many more dialogue tracks than Engeset–Naxos
  2. Includes the duplication of "Åse's Death" [first as a prelude], along with Engeset–Naxos
  3. All music tracks seems to match up exactly 1-to-1 with Engeset–Naxos
No. Conductor Orchestra Choir Peer Gynt Solveig Anitra Rec.[f] Time Recording venue Label Ref.
1 Per Dreier [no] London Symphony Orchestra Oslo Philharmonic Chorus Asbjørn Hansli Toril Carlsen [no] Vessa Hanssen [no] 1979 88:46 All Saints Church, Tooting Unicorn-Kanchana
[g]
2 Neeme Järvi Gothenburg Symphony Orchestra and Chorus Urban Malmberg [sv] Barbara Bonney Marianne Eklöf [sv] 1987 ? Gothenburg Concert Hall Deutsche Grammophon
[h]
3 Ole Kristian Ruud Bergen Philharmonic Orchestra KorVest Håkan Hagegård Marita Solberg Ingebjørg Kosmo [no] 2003 112:42 Grieg Hall BIS
[i]
4 Guillaume Tourniaire L'Orchestre de la Suisse Romande Le Motet de Genève Dietrich Henschel Inger Dam Jensen Sophie Koch 2005 121:42 Victoria Hall æon
[j]
5 Bjarte Engeset Malmö Symphony Orchestra Malmö Chamber Choir Yngve Søberg Isa Katharina Gericke [no] Itziar Galdos 2007 99:55 Malmö Concert Hall Naxos
[k]

Incidental music (excerpts)

[edit]

Recordings of *excerpts* from the incidental music:

No. Conductor Orchestra Choir Peer Gynt Solveig Anitra Rec.[f] Time Recording venue Label Ref.
1 Sir Thomas Beecham Royal Philharmonic Orchestra Beecham Choral Society — Ilse Hollweg — 1956 41:37 Abbey Road Studios EMI
[l]
. Arthur Fiedler Boston Pops Orchestra — — Eileen Farrell — c. 1957 ? ? RCA Victor Red Seal
[m]
2 Øivin Fjeldstad London Symphony Orchestra — — — — 1958 39:23 Kingsway Hall Decca
[n]
3 Václav Neumann Gewandhausorchester Leipzig — — Adele Stolte — 1967 ? ?, Leipzig Philips
[o]
4 Sir John Barbirolli Halle Orchestra Ambrosian Singers — Sheila Armstrong[p] Patricia Clark 1968 48:31 Abbey Road Studios EMI Eminence
[q]
5 Herbert Blomstedt Staatskapelle Dresden Rundfunkchor Leipzig — Taru Valjakka Edith Thallaug 1977 47:11 Lukaskirche, Dresden HMV / EMI
[r]
6 Walter Weller Royal Philharmonic Orchestra — — — — 1979 ? ? Decca
[s]
7 Sir Neville Marriner Academy of St Martin in the Fields Ambrosian Singers — Lucia Popp[p] 1983 47:40 ? EMI Classics
[t]
8 Edo de Waart San Francisco Symphony and Chorus — Elly Ameling[p] 1983 45:02 ? Philips Classics
[u]
9 Christoph Eschenbach Bamberg Symphony Orchestra and Chorus — Helen Donath ? ? ? Eurodisc
[v]
10 Esa-Pekka Salonen Oslo Philharmonic and Chorus — Barbara Hendricks 1987 63:20 Oslo Concert Hall Sony Classical
[w]
11 Kurt Masur Gewandhausorchester Leipzig Rundfunkchor Leipzig
Gewandhaus Kinderchor 		— Edith Wiens Bettina Denner 1988 ? Gewandhaus Philips
[x]
12 Herbert Blomstedt San Francisco Symphony and Chorus Urban Malmberg [sv] MariAnne Häggander [sv] Wendy White 1988 73:09 Davies Symphony Hall Decca
[y]
13 Sir Jeffrey Tate Berlin Philharmonic Ernst Senff Chor Berlin Petteri Salomaa Sylvia McNair 1990 68:02 Berlin Philharmonie EMI Classics
[z]
14 Dmitri Kitayenko Bergen Philharmonic Orchestra — — Linda Øvrebø [no] — 1994 46:12 Grieg Hall Troldhaugen
[aa]
15 Paavo Järvi Estonian National Symphony Orchestra Ellerhein Girls' Choir
Estonian National Male Choir 		Peter Mattei Camilla Tilling Charlotte Hellekant ? 63:00 ? Virgin Classics
[ab]
16 Edward Gardner Bergen Philharmonic Orchestra and Choir Johannes Weisser [no] Ann-Helen Moen Lise Davidsen 2016 54:39 Grieg Hall Chandos
[ac]
Yuri Temirkanov Royal Philharmonic Orchestra London Symphony Chorus — Inger Dam-Jensen ? 55:50 ? RCA Red Seal
[ad]

Both suites

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Recordings of the suites:

No. Conductor Orchestra Rec.[f] Op. 46 Op. 55 Recording venue Label Ref.
. Basil Cameron London Philharmonic Orchestra c. 1949 ? ? ? London
[ae]
. Willem van Otterloo Residentie Orchestra[af] c. 1951 ? ? ? Philips
[ag]
. Odd Grüner-Hegge Oslo Philharmonic Orchestra 1959 ? ? [Unknown venue], Oslo RCA Camden
[ah]
. Wilhelm Brückner-Rüggeberg Hamburg State Opera Orchestra c. 1959 ? ? ? Pye Golden Guinea
[ai]
. Kurt Graunke Graunke Symphony Orchestra c. 1969 ? ? ? Disneyland
[aj]
. Richard Kraus [de] Bamberg Symphony Orchestra 1965 14:38 16:26 ? Deutsche Grammophon
[ak]
. Leonard Bernstein New York Philharmonic 1967 14:53 17:21 Avery Fisher Hall Sony Classical
[al]
. Gennady Rozhdestvensky Moscow Radio Symphony Orchestra 1967 16:17 17:13 ? Melodiya
[am]
. Herbert von Karajan Berlin Philharmonic 1971 14:45 18:43 Jesus-Christus-Kirche Dahlem [de] Deutsche Grammophon
[an]
. Paavo Berglund Bournemouth Symphony Orchestra 1973 15:42 17:16 Southampton Guildhall EMI Classics
[ao]
. Maurice Abravanel Utah Symphony Orchestra 1975 12:28 15:55 ?, Salt Lake City VoxBox
[ap]
. Eugene Ormandy Philadelphia Orchestra 1975 13:32 17:33 vvvv RCA Victor Silver Seal
[aq]
. Raymond Leppard English Chamber Orchestra 1975 14:44 16:33 [unknown venue], London Philips Classics
[ar]
. Václav Smetáček Prague Symphony Orchestra 1976 16:42 15:38 Smetana Hall Supraphon
[as]
. Henryk Czyż Łódź Philharmonic c. 1977 ? ? ? Polskie Nagrania Muza
[at]
. Herbert von Karajan Berlin Philharmonic 1982 14:14 18:47 Berlin Philharmonie Deutsche Grammophon
[au]
. Libor Pešek Slovak Philharmonic Orchestra 1987 14:27 16:49 Czechoslovak Radio, Pilsen [cs] Aurophon Classics
[av]
. Herbert Blomstedt San Francisco Symphony 1988 15:32 17:04 Davies Symphony Hall Decca
[aw]
. Stephen Gunzenhauser CSSR State Philharmonic Orchestra [sk] 1988 15:00 15:45 Concert Hall, Košice [sk] Naxos
[ax]
. Vernon Handley Ulster Orchestra 1989 14:32 16:39 Ulster Hall Chandos
[ay]
. Neeme Järvi Gothenburg Symphony Orchestra 1992 14:44 16:18 Gothenburg Concert Hall Deutsche Grammophon
[az]
. Jerzy Maksymiuk BBC Scottish Symphony Orchestra 1993 15:12 16:40 Broadcasting House, Glasglow Naxos
[ba]
. Mark Ermler Royal Philharmonic Orchestra 1993 15:30 17:24 All Saints Church, Petersham, Surrey Brilliant Classics
[bb]
. Sir Neville Marriner Academy of St Martin in the Fields 1994 ? ? Henry Wood Hall, London Hänssler Classic
[bc]
. Ari Rasilainen [fi] Norwegian Radio Orchestra 1996 16:13 18:18 NKR Studio, Oslo Finlandia
[bd]
. Sakari Oramo City of Birmingham Symphony Orchestra 2000 15:48 17:38 Symphony Hall, Birmingham Erato
[be]
. Ole Kristian Ruud Bergen Philharmonic Orchestra 2005 15:34 17:15 Grieg Hall BIS
[bf]
. Bjarte Engeset Malmö Symphony Orchestra 2006 14:39 17:09 Malmö Concert Hall Naxos
[bg]
. Eivind Aadland WDR Symphony Orchestra Cologne ? ? ? Kölner Philharmonie Audite
[bh]
. Tadeusz Wojciechowski Polish Radio Symphony Orchestra Krakow 1994 14:01 15:46 Sala Zwiazkowiec Conifer Classics
[bi]
. [[]] [[]] yyyy tttt tttt vvvv llll
[bj]
. [[]] [[]] yyyy tttt tttt vvvv llll
[bk]
. [[]] [[]] yyyy tttt tttt vvvv llll
[bl]
. Bohumír Liška [cs] Pilsen Radio Orchestra [cs]}} yyyy tttt tttt vvvv llll
[bm]
. Otmar Suitner Bamberg Symphony Orchestra yyyy 15:59 15:07 vvvv Deutsche Grammophon
[bn]

Fictitious:

  • Peter Stern / Amsterdam Symphony Orchestra
  • Alfred Gehardt / Royal Promenade Orchestra
  • Alberto Lizzio / Philharmonica Slavonica
  • Herbert Fleischmann / Philharmonic Ensemble Pro Musica
  • Sven Bengtson / London Festival Orchestra

In addition, several notable conductors made incomplete recordings of the two suites, including: Herbert von Karajan with the Vienna Philharmonic in 1961 (Decca, 417 722–2); Sir John Pritchard with the London Philharmonic Orchestra c. 1971 (His Master's Voice, 1C 027–05 679); and Leonard Slatkin with the St. Louis Symphony Orchestra in 1979 (Telarc, CD–80048).

|- missing Solveig's Song, Peer Gynt's Homecoming, and Arabian Dance !scope="row"|. |Stanley Black |London Symphony Orchestra |yyyy |tttt |tttt |vvvv |Decca Records

|

[bo]

Notes, references, and sources

[edit]
Notes
  1. ^ Thora Hansson's voice was deemed unsuitable for the role and an unknown young girl sang Solveig's songs as Hansson mimed.
  2. ^ Wiese's Wikipedia bio claims, without sourcing, that it was she who from behind the curtain sang Solveig's songs in Thora Hansson's stead.
  3. ^ The Norwegian actress and singer Rosa Asmundsen was cast in the role of Anitra, but became ill in advance of the 24 February premiere. The role was taken by her understudy, Elisabeth Klausen [no], sister of Henrik Klausen [no].[10] As a result, the premiere did not include Anitra's song in the Arabian Dance.[11]
  4. ^ In Act II, Scene 6)[24]
  5. ^ In Act II, Scene 6),[24]
  6. ^ a b c Refers to the year in which the performers recorded the work; this may not be the same as the year in which the recording was first released to the general public.
  7. ^ P. Dreier—Unicorn-Kanchana (UK CD 2003–4) 1987
  8. ^ N. Järvi—DG (423 079–2) 1987
  9. ^ O. Ruud—BIS (SACD–1441/42) 2005
  10. ^ G. Tourniaire—æon (AECD 0642) 2006
  11. ^ B. Engeset—Naxos (8.570871/72) 2008
  12. ^ T. Beecham—EMI (CDM 7 69039 2) 1987
  13. ^ A. Fiedler—RCA Victor Red Seal (LM–2125) 1957
  14. ^ Ø. Fjeldstad—Decca (448 599–2) 1996
  15. ^ V. Neumann—Philips (420 864–2) 1987
  16. ^ a b c Excludes the song Solveig Sings in the Hut (Solveig synger i hytten).
  17. ^ J. Barbirolli—EMI Eminence (CD–EMX 2049) 1988
  18. ^ H. Blomstedt—label (ASD 3640) 1979
  19. ^ W. Weller—Decca (436 529–2) 1992
  20. ^ N. Marriner—EMI Classics (CDC 7 47003 2) 1991
  21. ^ E. de Waart—Philips Classics (411 038–2) 1984
  22. ^ C. Eschenbach—Eurodisc (207 047–425) 1985
  23. ^ E. Salonen—Sony Classical (SK 44528) 1993
  24. ^ K. Masur—Philips (422 343–2) 1989
  25. ^ H. Blomstedt—Decca (425 448–2) 1990
  26. ^ J. Tate—EMI Classics (CDC 7 54119 2) 1991
  27. ^ D. Kitayenko—Troldhaugen (TROLD 06) 1994
  28. ^ P. Järvi—Virgin Classics (7243 5 45722 2 7) 2005
  29. ^ E. Gardner—Chandos (CHSA 5190) 2018
  30. ^ Y. Temirkanov—RCA Red Seal (82876 65834 2) 2005
  31. ^ B. Cameron—London (LLP 153) 1949
  32. ^ Even though this is a recording og the Peer Gynt Suites, the soprano Erna Spoorenberg sings the vocal line in Solveig's Song.
  33. ^ W. van Otterloo—Philips (N 00101 L) 1951
  34. ^ O. Grüner-Hegge—RCA Camden (CAS 480) 1959
  35. ^ W. Brückner-Rüggeberg—Pye Golden Guinea (GGL 0029) 1959
  36. ^ K. Graunke—Disneyland (ST–3983) 1969
  37. ^ R. Kraus—DG (427 204–2) 1989
  38. ^ L. Bernstein—Sony Classical (SMK 63156) 1998
  39. ^ G. Rozhdestvensky—Melodiya (SR–40048) 1968
  40. ^ H. Karajan—DG (474 269–2) 2017
  41. ^ P. Berglund—EMI Classics (7243 5 74731 2 5) 2001
  42. ^ M. Abravanel—VoxBox (CDX 5048) 1992
  43. ^ E. Ormandy—RCA Victor Silver Seal (VD 60538) 1994
  44. ^ R. Leppard—Philips Classics (438 380–2) 1993
  45. ^ V. name—Smetáček (11 0616–2 011) 1988
  46. ^ H. Czyż—Polskie Nagrania Muza (SX 1473) 1977
  47. ^ H. Karajan—DG (439 010–2) 1993
  48. ^ L. Pešek—Aurophon Classics (US CD 71821) 1992
  49. ^ H. Blomstedt—Decca (425 857–2) 1991
  50. ^ S. Gunzenhauser—Naxos (8.550140) 1988
  51. ^ V. Handley—Chandos (CHAN 7040) 1996
  52. ^ N. Järvi—DG (00289 477 5007) 2004
  53. ^ J. Maksymiuk—Naxos (8.550864) 1993
  54. ^ M. Ermler—Brilliant Classics (94402) 2012
  55. ^ N. Marriner—Hänssler Classic (98.995) 1994
  56. ^ A. Rasilainen—Finlandia (0630–17675–2) 1997
  57. ^ S. Oramo—Erato (8573–82917–2) 2000
  58. ^ O. Ruud—BIS (SACD–1591) 2006
  59. ^ B. name—Engeset (8.570236) 2007
  60. ^ E. Aadland—Audite (92.651) 2011
  61. ^ T. Wojciechowski—Conifer Classics (75605 51750 2) 1995
  62. ^ [ N. name—label (llll) yyyy]
  63. ^ [ N. name—label (llll) yyyy]
  64. ^ [ N. name—label (llll) yyyy]
  65. ^ [ B. Liška—label (llll) yyyy]
  66. ^ [ O. Suitner—DG (00289 477 5482) 1957]
  67. ^ S. Black—Decca (PFS 4206) 1970
References
  1. ^ a b c d van Heesch 2005, p. 10.
  2. ^ a b c d van Heesch 2005, p. 9.
  3. ^ van Heesch 2005, pp. 9–10.
  4. ^ a b c Ibsen 1936, pp. 13.
  5. ^ van Heesch 2005, p. 8.
  6. ^ Ibsen 1936, pp. 151–157.
  7. ^ Ibsen 1936, pp. 167, 219, 255–256.
  8. ^ Ibsen 1936, pp. 145–146.
  9. ^ a b van Heesch 2005, p. 100.
  10. ^ a b Morgenbladet, No. 54B 1876, p. 1.
  11. ^ Morgenbladet, No. 56A 1876, p. 2.
  12. ^ a b c d Benestad 1988, p. 137.
  13. ^ van Heesch 2005, pp. 4–8.
  14. ^ Benestad 1988, p. 1.
  15. ^ Benestad 1988, p. 23.
  16. ^ Benestad 1988, p. 24.
  17. ^ Benestad 1988, p. 25.
  18. ^ van Heesch 2005, p. 71.
  19. ^ Benestad 1988, p. 34.
  20. ^ Benestad 1988, p. 61.
  21. ^ Benestad 1988, p. 65.
  22. ^ van Heesch 2005, p. 74.
  23. ^ a b Benestad 1988, p. 66.
  24. ^ a b c Benestad 1988, p. 83.
  25. ^ van Heesch 2005, p. 78.
  26. ^ a b Benestad 1988, p. 93.
  27. ^ Benestad 1988, p. 108.
  28. ^ a b Benestad 1988, p. 139.
  29. ^ van Heesch 2005, p. 92.
  30. ^ Benestad 1988, p. 152.
  31. ^ van Heesch 2005, p. 93.
  32. ^ Benestad 1988, p. 161.
  33. ^ Benestad 1988, p. 184.
  34. ^ van Heesch 2005, p. 96.
  35. ^ Benestad 1988, p. 189.
  36. ^ Benestad 1988, p. 198.
  37. ^ Benestad 1988, p. 205.
  38. ^ Benestad 1988, p. 211.
  39. ^ Benestad 1988, p. 212.
  40. ^ Benestad 1988, p. 230.
  41. ^ van Heesch 2005, p. 106.
  42. ^ Benestad 1988, p. 237.
  43. ^ van Heesch 2005, p. 108.
  44. ^ Benestad 1988, p. 239.
  45. ^ van Heesch 2005, p. 114.
  46. ^ Benestad 1988, p. 261.
  47. ^ van Heesch 2005, p. 117.
  48. ^ Benestad 1988, p. 262.
  49. ^ van Heesch 2005, pp. 13–14.
  50. ^ Benestad 1988.
  51. ^ Benestad 1985a, p. 1.
  52. ^ Benestad 1985a, p. 15.
  53. ^ Benestad 1985a, pp. 20–21.
  54. ^ Benestad 1985a, p. 22.
  55. ^ Benestad 1985b, p. 55.
  56. ^ Benestad 1985b, p. 88.
Sources
Books
  • Ibsen, Henrik (1936) [1867]. Peer Gynt: A Dramatic Poem. Translated by Sharp, R. [Robert] Farquharson. Illustrated by Rackham, Arthur. Philadelphia: J. B. Lippincott.
Liner notes
  • van Heesch, Stephanie (2005). Edvard Grieg: Peer Gynt (PDF) (booklet). Translated by Barnett, Andrew. Ole Kristian Ruud & Bergen Philharmonic Orchestra. BIS. SACD–1441/42.
Newspapers (by date)
Johannes Flintoe - The Waterfall Vøringsfossen - NG.M.03271 - National Museum of Art, Architecture and Design
On the Plain (Erik Werenskiold) - Gothenburg Museum of Art - F 155
[edit]
Wikimedia Commons has media related to Peer Gynt (Grieg).


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