Peer Gynt Suite No. 1 Op. 46: A Timeless Classic by Grieg - Download the High-Quality Audio and Enjoy the Beautiful Melodies

Peer Gynt Suite No. 1, Op. 46: A Masterpiece by Edvard Grieg

If you are a fan of classical music, you have probably heard of Peer Gynt Suite No. 1, Op. 46, a collection of four orchestral pieces by the Norwegian composer Edvard Grieg. This suite is one of Grieg's most famous and beloved works, and it contains some of his most recognizable melodies, such as Morning Mood, The Death of Åse, Anitra's Dance, and In the Hall of the Mountain King. But do you know the story behind this suite? Do you know how it was composed and what it represents? Do you know how it has influenced other composers and artists over time? In this article, we will explore these questions and more, as we delve into the fascinating world of Peer Gynt Suite No. 1, Op. 46.

Introduction

Peer Gynt Suite No. 1, Op. 46 is not a standalone work, but rather a selection of music from a larger work called Peer Gynt, which is an incidental music composed by Grieg for a play of the same name by his fellow Norwegian Henrik Ibsen. Incidental music is music that accompanies a dramatic work, such as a play or a film, to enhance its mood, atmosphere, and expression.

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Edvard Grieg (1843-1907) was one of the most prominent composers of the Romantic era, a period in music history that spanned He spent two years working on the music, and composed 26 pieces for the play, totaling about 90 minutes of music. He used various musical techniques and devices to create different moods and effects, such as leitmotifs, thematic development, contrast, and instrumentation. He also incorporated some Norwegian folk tunes and dances into his music, to reflect the national and cultural identity of the play.

The incidental music for Peer Gynt was well received by the audience and the critics, and Grieg was praised for his skill and creativity. However, Grieg himself was not satisfied with his work, and he felt that some of the music was too weak or too dependent on the play. He decided to revise and rearrange some of the music into two separate suites, each consisting of four movements. He published the first suite, Peer Gynt Suite No. 1, Op. 46, in 1888, and the second suite, Peer Gynt Suite No. 2, Op. 55, in 1893. These suites were intended to be performed as independent concert pieces, without the need for the play.

The Four Movements of Peer Gynt Suite No. 1, Op. 46

The four movements of Peer Gynt Suite No. 1, Op. 46 are based on four scenes from the play, each representing a different stage or aspect of Peer Gynt's life and journey. They are:

Movement

Scene

Act

Morning Mood

The Moroccan Desert

IV

The Death of Åse

Peer Gynt's Home

III

Anitra's Dance

The Oasis

IV

In the Hall of the Mountain King

The Mountain King's Hall

I

Let us take a closer look at each movement and see how Grieg composed them.

Morning Mood: A Serene and Idyllic Scene

This movement is one of the most famous and popular pieces by Grieg, and it is often used as a symbol of dawn or morning in various contexts. It is played at the beginning of Act IV of the play, when Peer Gynt wakes up in the Moroccan desert after being abandoned by his companions. He sees the sun rising over the horizon, and he feels a sense of peace and wonder.

The music is written in E major, a bright and cheerful key, and it has a slow tempo and a simple meter. It begins with a solo flute playing a gentle and lyrical melody, accompanied by soft strings and harp. This melody is repeated several times, with slight variations and modulations, creating a sense of calmness and beauty. The melody is then taken over by other instruments, such as oboe, clarinet, bassoon, horn, and violin, adding more color and texture to the music. The music gradually builds up to a climax, where all the instruments play together in harmony, before fading away to a quiet ending.

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The music evokes the mood of a sunrise in the desert by using various musical elements, such as:

• The flute melody represents the sun's rays shining through the clouds.

• The strings and harp create a smooth and warm background that suggests the sand and the sky.

• The modulations from E major to C major and back create a contrast between light and dark.

• The crescendo and diminuendo express the rising and falling of the sun.

• The simple rhythm and harmony convey a sense of tranquility and simplicity.

This movement is a masterpiece of musical impressionism, as it paints a vivid picture of a scene with sound. The Death of Åse: A Tragic and Emotional Moment

This movement is one of the most poignant and expressive pieces by Grieg, and it is often used as a symbol of sadness or grief in various contexts. It is played in Act III of the play, when Peer Gynt returns to his home after many years of wandering, and finds his mother, Åse, dying. He tries to comfort her by telling her stories of his adventures, but she is too weak to listen. He holds her in his arms as she breathes her last.

The music is written in B minor, a dark and somber key, and it has a slow tempo and a complex meter. It begins with a solo viola playing a mournful and melancholic melody, accompanied by low strings and timpani. This melody is repeated several times, with slight variations and embellishments, creating a sense of sorrow and regret. The melody is then taken over by other instruments, such as cello, bassoon, horn, and clarinet, adding more depth and emotion to the music. The music gradually builds up to a climax, where all the instruments play together in dissonance, before fading away to a silent ending.

The music expresses the grief and sorrow of Peer Gynt for his mother's death by using various musical elements, such as:

• The viola melody represents the voice of Åse, weak and fading.

• The low strings and timpani create a dark and heavy background that suggests the gravity of the situation.

• The variations and embellishments of the melody convey the agitation and desperation of Peer Gynt.

• The crescendo and dissonance express the intensity and pain of the loss.

• The silence at the end signifies the finality and emptiness of death.

This movement is a masterpiece of musical expressionism, as it communicates a powerful emotion with sound. Anitra's Dance: A Seductive and Exotic Dance

This movement is one of the most lively and playful pieces by Grieg, and it is often used as a symbol of seduction or exoticism in various contexts. It is played in Act IV of the play, when Peer Gynt meets Anitra, a beautiful and cunning desert princess, who pretends to be in love with him. She dances for him and flatters him, while secretly planning to rob him of his money and jewels.

The music is written in A minor, a bright and energetic key, and it has a fast tempo and a simple meter. It begins with a solo violin playing a catchy and rhythmic melody, accompanied by plucked strings and tambourine. This melody is repeated several times, with slight variations and ornaments, creating a sense of charm and flirtation. The melody is then taken over by other instruments, such as flute, oboe, clarinet, horn, and trumpet, adding more color and sparkle to the music. The music gradually builds up to a climax, where all the instruments play together in syncopation, before ending with a flourish.

The music portrays the allure and charm of Anitra by using various musical elements, such as:

• The violin melody represents the movement and grace of Anitra's dance.

• The plucked strings and tambourine create a light and crisp background that suggests the desert environment.

• The variations and ornaments of the melody convey the personality and wit of Anitra.

The crescendo and syncopation express the exci