Peer Gynt Op. 46 & 55 - Grieg

 

Peer Gynt

Edvard Grieg

Peer Gynt

Basil Cameron Conducting

The London Philharmonic Orchestra

London Records LL 153

1949

Suite No. 1, Op. 46

  Morning

  The Death Of Ash

  Anitra's Dance

  In The Hall Of The Mountain King

Suite No. 2, Op. 55

  Ingrid's Lament

  Arabian Danec

  The Return Of Peer Gynt

  Solveig's Song

From the back cover: Early in 1867, Hendrik Ibsen wrote his publisher that he was a work on "a long dramatic poem, having as its chief figure one of those half-mythical, fanciful characters existing in the annuals of the Norwegian peasantry of 'modern times." He was referring in this statement to Peer Gynt, whose name he had first discovered in a collection of Norwegian folk tales. The few scattered hints of character stimulated his imagination out of which grew the swelling dramatic poem with its undercurrent of satire.

Peer Gynt is a Norwegian peasant overflowing with bombastic arrogance and fantastic humor. The poem tells of his appearance at the village wedding, his encounter with Ingrid, his meeting with Solveig, the night in the hall of the Mountain King, his desertion of Solveig and return home, the death of his mother, Ase, his travels and adventures in the world, his meeting with Anitra in the desert, the shipwreck, his final homecoming, death and redemption through Solveig's love.

Although published in 1867, it was not until 1874 that Ibsen considered making the revisions necessary for a stage presentation of the work. By this time he had concluded that incidental music was required, and on January 23, 1875, he wrote to Edvard Grieg asking if he would compose the music. Also, in this letter, Ibsen lists intended abridgments of text and states his ideas concerning the introduction of the music. He explains at what points the music is to enter, when it is to combine with the action, and, in certain instances, the character of the motives to be used. In closing, he announces his intention of asking 400 'specie dollars' for the production, to be equally divided between the composer and himself.

Edvard Grieg was thirty one years old when he received this offer, accepted it and began the composition of the music which was to occupy his time and thoughts for almost two years. The work progressed with difficulty, and when, in the autumn of 1875, he finally sent the score to the director, some doubts still remained in his mind.

After several unavoidable delays, Peer Gynt, a dramatic poem by Hendrik Ibsen, with incidental music by Edvard Grieg, was performed for the first time, with great success, in what is today Oslo, Norway, at the Christiania Theatre, on February 24, 1876.

Grieg was not present at the first performance but was told that the orchestra was inadequate and the musical sonorities mediocre. Never having been completely satisfied with the orchestration, he made changes in the scoring before issuing, in the late eighteen eighties, those selections which comprise Peer Gynt Suite, I, opus 46. The success of this work brought forth Peer Gynt, II, opus 55, which has never attained the popularity of the first. However, as the striking originality of these suites become known through the world inquiries were made concerning the rest of the music, but it was not until 1908, the year following Grieg's death, that the full orchestral score of twenty-two pieces was published.

In studying both score and play it is interesting to note the various roles assumed by the music. In Morning it is used to set the emotional tone of the scene that follows. In The Return Of Peer Gynt it takes on a narrative quality. In Anitra's Dance it forms a psychological background for Peer's monologue. In Solveig's Song it becomes a lyrical accompaniment. But whatever the part it plays, it always serves as an elucidating commentary on the psychological and action of the scene.

Greig felt that his efforts had been hampered by the play's director. The composer was not permitted to decide at what points the music was to be introduced, and in some instances was not allowed to say musically all that he wanted. Hence the brevity of the pieces. But in was in the short, smaller musical forms that Grieg's genius found its fullest expression. In them he was able to realize completely those elements which are most characteristic of his work: the beauty of melodic invention, the haunting quality of modal harmonies and the originality of rhythmic patterns.

Throughout his life Grieg had loved the folk music of his native land and on his return from Leipzig in 1862m where he had studied at the Conservatory for four years, he began to associate with people interested in the development of a national characteristic in all the various art forms. From this time on he began to feel his full power. When he came to create his own melodies they were so closely related to traditional tunes it was difficult to distinguish them from the genuine folk melodies. This folk-like quality colors all of his work, and through its translation into his personal idiom he gave expression to the nature and atmosphere of Norway. It was probably this common note of the folk element that prompted Ibsen to invite Grieg to collaborate with him on the Peer Gynt production. For Ibsen had discovered the kernel of his Peer Gynt in Norwegian folk lore, just as Grieg had discovered the kernel of his music in Norwegian folk music. – Max Kahn