Edvard Grieg Peer Gynt Suites 1 & 2

#rarity #Grieg #Orchestral #Programme #Norwegian #Suite
Basil Cameron; London Philharmonic Orchestra
Publication date: 1949
1. Suite No. 1, Op. 46: Morning (Allegro Pastorale) 00:00
2. Suite No. 1, Op. 46: The Death Of Ase (Andante Doloroso) 03:57
3. Suite No. 1, Op. 46: Anitra's Dance (Tempo Di Mazurka) 08:04
4. Suite No. 1, Op. 46: In The Hall Of The Mountain King (Alla Marcia E Molto Marcato) 11:02
5. Suite No. 2, Op. 55: Ingrid's Lament (Allegro Furioso)15:13
6. Suite No. 2, Op. 55: Arabian Dance (Allegretto Vivace) 20:06
7. Suite No. 2, Op. 55: The Return Of Peer Gynt (Allegro Agitato) 23:30
8. Suite No. 2, Op. 55: Solveig's Song (Andante) 26:00
Edvard Grieg's "Peer Gynt" Suites Nos. 1 and 2 are among the most beloved and recognizable works in the entire classical repertoire. Originally written as incidental music for Henrik Ibsen's 1876 verse drama of the same name, the score was so powerful that Grieg later separated four movements into each suite, creating two distinct orchestral masterpieces that far surpassed the original play's popularity.
The score recounts the adventures of the antihero Peer Gynt, a boastful and irresponsible Norwegian farm boy who embarks on a journey around the world full of fantasy, romance, and self-deception. Grieg's genius lies in his ability to convey the essence of these scenes and characters in vivid, melodic, and brilliantly orchestrated miniatures.

Suite No. 1, Op. 46: Journey from Dawn to Night
The first suite presents a perfectly constructed narrative arc:
"Morning Mood": perhaps the most famous musical depiction of dawn ever written. Its serene, ascending melody, first performed by the flute, effortlessly conjures up a picture of the rising sun over the Scandinavian landscape. It is a universal symbol of peace and new beginnings.
"The Death of Åse": A work of profound and somber beauty. Using only strings, Grieg creates a slow, hymn-like elegy of boundless sorrow, depicting the moment when Peer sits at the deathbed of his mother, Åse.
"Anitra's Dance": A swift and graceful dance in a seductive triple meter. With the sound of strings and triangles, it depicts the exotic and sly dance performed for Peer by the Bedouin chieftain's daughter.
"In the Hall of the Mountain King": A relentless and captivating crescendo. It begins quietly and mysteriously, as Peer is pursued by the trolls of the mountain kingdom, and with explosive energy builds to a frantic, chaotic climax.

Suite No. 2, Op. 55: Exotic Shores and the Homecoming
The second suite, though less frequently performed as a single unit, contains equally vibrant character pieces:
"Ingrid's Lament": A turbulent and dramatic piece expressing the despair of Ingrid, the bride Peer abandons on her wedding day.
"Arabian Dance": Also known as the "Dance of the Arabian Girls," this section, with its distinctive brass section and insistent drum beat, evokes the exotic atmosphere of the Middle East.
"Peer Gynt's Return": A stormy and dramatic seascape, brilliantly illustrating the hero's turbulent boat journey back to Norway.
"Solveig's Song": The emotional heart of the entire work, this simple, heartbreakingly beautiful song of Solveig, the woman who has faithfully waited for Peer all her life. Its pure, folksy melody, often sung by a soprano, embodies the redemptive power of love and the true home Peer sought his entire life.

Together, the Peer Gynt suites are a masterclass in musical storytelling. They transport the listener from the fjords of Norway to the deserts of Arabia, across the full spectrum of human emotion. Grieg's use of Norwegian folk idioms, combined with his gift for creating unforgettable melodies, ensures that these works remain timeless treasures, instantly accessible and infinitely valuable.

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