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

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

$120.00 USD

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

Name: Peer Gynt: Suite No. 1, Op. 46: Conductor Score & Parts
Brand: Alfred Music
SKU: 36-A152202
Price: 120.00 USD
Availability: InStock

By Edvard Grieg

Item: 36-A152202

$120.00

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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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Series: Kalmus Orchestra Library

Publisher: Keiser Productions, Inc.

UPC: 679360661130

SKU: 36-A152202

Instrumentation: 2+1, 2, 2, 2 - 4, 2, 3, 1, timp, perc, str

More about this title

About the Composer: Edvard Grieg

Edvard Grieg stands as Norway's most internationally celebrated composer, and his collaboration with Henrik Ibsen on Peer Gynt remains one of the defining achievements of Romantic orchestral music. Though initially reluctant to take on the project in 1874, Grieg produced incidental music so compelling that it overshadowed the play itself in lasting cultural impact. His gift for melodic invention and orchestral color transformed Ibsen's narrative into unforgettable musical moments that have defined concert hall programming for nearly 150 years.

Grieg's approach to these four movements exemplifies his mastery of orchestration and emotional storytelling. Each piece stands complete in itself while remaining deeply connected to character and dramatic arc. His willingness to extract and refine these movements into suite form demonstrates a composer thinking strategically about how concert audiences would experience his work, a decision that proved far more consequential than he likely anticipated.

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Why we love this

Grieg's orchestral writing here balances accessibility with genuine sophistication. The four movements offer distinct musical worlds that engage orchestras and audiences alike, from the sunlit clarity of "Morning" to the darkly comic grandeur of "In the Hall of the Mountain-King." The Kalmus edition's practical transpositions and clef options remove publishing obstacles that have frustrated conductors for decades, letting you focus on the music itself rather than the logistics of parts.

What to expect

Morning breaks with a gentle, almost pastoral warmth that evokes Nordic landscapes. The suite then shifts into intimate grief, playful orientalism, and finally boisterous, troll-like chaos that feels both absurd and menacing. Grieg moves between these emotional worlds with such clarity that each movement feels inevitable, a perfect distillation of the Peer Gynt story into pure orchestral drama.

Who it's for

This edition serves orchestras of intermediate to advanced capability. The transposition options make it accessible to ensembles still building their wind sections, while the dramatic scope and harmonic language will challenge and reward stronger orchestras.

How to get the most out of it

Balance the woodwind solos in "Morning" with transparent accompaniment. Grieg's orchestration here is deliberately light; resist the urge to fill it in.
Shape "The Death of Åse" with genuine tenderness rather than sentimentality. The restrained harmonic language is what makes it moving.
Establish a clear pulse in "Anitra's Dance" before the orchestra enters. The rhythmic character depends on the strings locking with the percussion from measure one.
The Mountain King's theme needs weight and presence, but allow the woodwinds to cut through in the tuttis. Grieg scored this with clarity in mind.

How to use it

These four movements work equally well as a complete suite or as individual selections within a broader concert. "Morning" and "Anitra's Dance" are perennial pops concert favorites that balance longer works elsewhere on the program. The full suite creates a satisfying narrative arc on its own, making it an ideal closing piece for an orchestral concert or as the centerpiece of a concert exploring Romantic orchestral music.

Skills your students will build

Sustaining long melodic lines with consistent intonation and tone quality
Balancing transparent orchestration where individual lines must remain audible
Executing rhythmic figures across multiple sections simultaneously, particularly in "In the Hall of the Mountain-King"
Reading transposed parts and multiple clefs with confidence
Responding to subtle dynamic and tempo shifts that drive emotional narrative