Peer Gynt (Grieg)

Lore & Background

The incidental music to *Peer Gynt*, Op. 23, was composed by Edvard Grieg in 1875 for Henrik Ibsen’s 1867 play. It premiered alongside the drama on 24 February 1876 in Christiania (now Oslo). Grieg originally wrote approximately 90 minutes of orchestral music, later extracting eight movements to form two four-movement suites: Suite No. 1, Op. 46 (published 1888) and Suite No. 2, Op. 55 (published 1893). A typical performance of both suites lasts 20 to 35 minutes. The complete original score, containing 26 movements, was not published until 1908, a year after Grieg’s death, and was believed lost until the 1980s; full performances have only been possible since then. The music’s range mirrors Peer Gynt’s global travels, with Grieg using specific instruments to evoke distant lands. The orchestration is substantial, including piccolo, two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, cymbals, bass drum, snare drum, triangle, xylophone, tambourine, tam-tam, bell, piano, organ, harp, and strings. Defining characteristics include the integration of songs and choral pieces within the full score, and the fact that for many years only the suites were widely known. Some of this music has also entered popular culture.

Reader's Guide

The original score of *Peer Gynt*, Op. 23, contains 26 movements across five acts, including songs and choral pieces. Grieg later extracted eight movements to form two four-movement suites: Suite No. 1, Op. 46, and Suite No. 2, Op. 55. A typical rendition of both suites lasts 20 to 35 minutes. The complete score was believed lost until the 1980s and has been performed in its entirety only since then. The music's significance lies in its vivid orchestration, with instruments representing Peer Gynt's travels, and its enduring presence in popular culture. Grieg, a leading figure in Scandinavian music, composed the work reluctantly at Ibsen's request, finding the process far more challenging than anticipated. The premiere was a triumphant success, though Grieg complained bitterly about the theatre management dictating the duration and order of each number. For many years, only the suites were widely available, as the full score was not published until 1908, a year after Grieg's death. The music’s orchestration is notable for its large ensemble, including piccolo, flutes, oboes, clarinets, bassoons, horns, trumpets, trombones, tuba, a wide array of percussion (timpani, cymbals, bass drum, snare drum, triangle, xylophone, tambourine, tam-tam, bell), plus piano, organ, harp, and strings. The complete incidental music includes several songs and choral pieces, and recordings often feature actors reading verses from the drama. Some recordings present 33 selections, while others, such as one conducted by Ole Kristian Ruud, split the music into 49 items.

Did You Know?

• Grieg originally composed 90 minutes of orchestral music for the play.
• The complete score was believed lost until the 1980s.
• The second suite originally had a fifth number, The Dance of the Mountain King's Daughter, but Grieg withdrew it.