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Peer Gynt: Suite No. 1, Op. 46: Conductor Score

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Peer Gynt: Suite No. 1, Op. 46 Cover Image
Peer Gynt: Suite No. 1, Op. 46: Conductor Score

Peer Gynt: Suite No. 1, Op. 46: Conductor Score

By Edvard Grieg

Item: 36-A152201
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Description
The great Norwegian playwright Henrik Ibsen's poem "Peer Gynt," one of his greatest works, tells the tale of a young man so full of bravado, exuberance of spirit, wanderlust, and wantonness, that his road will inevitably lead to perdition unless saved by a woman, much as in Goethe's "Faust."  The likewise great Norwegian composer, Edvard Grieg, was asked by Ibsen in 1874 to write incidental music to accompany the play, to which Grieg reluctantly agreed.  Over a decade after composing the full incidental music, Grieg extracted eight movements and divided them into two four-movement suites, both of which were highly successful and the only way one could hear the music Grieg wrote for the play for many years as the original score was not published until 1908, one year after the composer's death.   "Suite No. 1" includes: I. "Morning," II."The Death of Åse," III. "Anitra's Dance," and IV. "In the Hall of the Mountain-king."  To make this edition as accessible as possible, clarinet, trumpet, and horn include both the original instrument key and a transposition part to those instrument keys in common use today.  The tenor trombone parts, originally written in tenor clef, also include a bass clef part for ease of use.  Instrumentation: 2+Picc.2.2.2: 4.2.3.1: Timp.Perc(2): Str(9.8.7.6.5).

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Additional Details
Series: Kalmus Orchestra Library
Publisher: Keiser Productions, Inc.
ISBN10: 1-58-106863-8
ISBN13: 978-1-58-106863-4
UPC: 746241214454
SKU: 36-A152201
Instrumentation: 2+1, 2, 2, 2 - 4, 2, 3, 1, timp, perc, str

More about this title

About the Composer: Edvard Grieg

Edvard Grieg (1843-1907) remains Norway's most celebrated composer and a towering figure of Romantic music. His gift for melodic invention and harmonic color shaped the nationalist movement in classical music, drawing deeply from Scandinavian folk traditions while commanding the full resources of the orchestra.

Greig's collaboration with Henrik Ibsen on Peer Gynt stands as one of music history's great partnerships between playwright and composer. Though Grieg initially approached the commission with hesitation, the resulting incidental music became his most performed work and demonstrated his mastery of orchestral storytelling across dramatic extremes.

Why we love this

This is repertoire that conducts itself. The four movements of Suite No. 1 offer contrasting emotional territory (dawn, grief, exotic allure, supernatural menace) that showcases orchestration genius while remaining accessible to ambitious amateur orchestras. The practical edition choices here—transposed parts for modern instruments and alternative clefs—remove friction from preparation, letting your attention stay on the music's architecture and color.

What to expect

A journey through vivid emotional and exotic landscapes. From the serene awakening of morning light through a mother's quiet death, then into the sensual rhythms of a desert dance, and finally into a grotesque underground kingdom where the impossible becomes inevitable. Grieg's orchestration makes every transition feel inevitable.

Who it's for

Conductors leading community orchestras, university orchestras, and advanced youth ensembles who want to program standard orchestral repertoire with maximum musical reward. This is ideal for conductors building players' experience with Romantic-era orchestration and dramatic pacing.

How to get the most out of it

  • Balance the opening horn fifths in 'Morning' delicately; they anchor the sunrise atmosphere but should never overwhelm the gentle woodwind dialogue.
  • Shape 'The Death of Åse' with genuine silence between phrases. The grief lives as much in the space as in the melody itself.
  • Let 'Anitra's Dance' breathe and swagger. The rhythm can feel mechanical if underrehearsed; lock the percussion and bass line early so strings can ornament freely above.
  • Prepare the strings for the technical demands in 'In the Hall of the Mountain-King,' especially the tremolo figures. Establish a clear tactus with the brass to navigate the orchestral layering without losing momentum.

How to use it

Program these four movements as a complete suite on a concert featuring other Romantic orchestral works, or extract individual movements for thematic programming (pair 'Morning' with other sunrise music, or 'The Death of Åse' with other elegies). The suite also serves well as a second-half opener, providing tonal and emotional contrast to heavier symphonic works.

Skills your students will build

  • Reading transposed parts (clarinet, trumpet, horn) and alternative clefs (tenor and bass trombone)
  • Navigating rapid tempo changes and maintaining ensemble cohesion across dramatic shifts in character
  • Balancing complex counterpoint and orchestral layering in sections like 'In the Hall of the Mountain-King'
  • Shaping lyrical lines with breath and phrasing across a full orchestra
  • Listening to and responding to color changes driven by orchestration rather than harmonic progression alone

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