Peer Gynt Suite No. 1 Op.46 (new Urtext Edition) Cover Image

Peer Gynt Suite No. 1 Op.46 (new Urtext Edition): Piano (Solo)

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Peer Gynt Suite No. 1 Op.46 (new Urtext Edition) Cover Image
Peer Gynt Suite No. 1 Op.46 (new Urtext Edition): Piano (Solo)

Peer Gynt Suite No. 1 Op.46 (new Urtext Edition): Piano (Solo)

By Edvard Grieg / ed. Dag Schjelderup-Ebbe

Item: 98-EP11078
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Grieg's incidental music for Henrik Ibsen's reading drama Peer Gynt was already a great success in 1876. In 1888, Grieg combined the four movements Morning Mood, Åse's Death, Anitra's Dance and In the Hall of the Mountain King into a first orchestral suite op. 46, which was highly successful internationally during the composer's lifetime and is still one of Grieg's most popular creations today. (A second suite op. 55 followed later.) In 1888, Grieg also arranged the first orchestral suite for piano two hands. The present edition of this arrangement is based on the Edvard Grieg Complete Edition (Volume 4) published by Peters, published by the Edvard Grieg Committee, Oslo. For the Urtext edition, the musical text was re-examined and an informative foreword by Prof. Dr. Hella Brock added.

 

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Additional Details
Series: Edition Peters
Publisher: Edition Peters
Page Count: 24
ISBN10: 0-01-410756-2
ISBN13: 979-0-01-410756-7
SKU: 98-EP11078

More about this title

About the Composer: Edvard Grieg

Edvard Grieg (1843, 1907) stands as Norway's most significant composer, a figure who brought Scandinavian musical identity into the European concert mainstream. His gift for melody and his ability to evoke landscape and emotion through harmonic color made him one of the most performed composers of his era, and his music remains central to piano repertoire today.

Grieg's arrangements of his own orchestral works for solo piano reveal his intimate understanding of the keyboard. He knew how to translate orchestral color into pianistic effect, preserving the dramatic arc and lyrical essence of the originals while creating genuinely idiomatic writing for the instrument.

Why we love this

This Urtext edition grounds students in an authoritative text based on Grieg's own handwriting and the Complete Edition archive. The four movements offer manageable technical and interpretive scope; Morning Mood and Anitra's Dance sit comfortably for intermediate players, while In the Hall of the Mountain King provides the dramatic payoff and rhythmic drive that keeps audiences engaged. Programming this suite builds concert identity and appeals across age groups.

What to expect

Morning Mood awakens with gentle pastoral light; Åse's Death unfolds with tender heartbreak and chromatic sorrow. Anitra's Dance sparkles with Middle Eastern exoticism and rhythmic charm, while In the Hall of the Mountain King builds from mystery to primal, pounding triumph. The suite moves from reflection through grief into sensuality and finally raw power.

Who it's for

Pianists at the intermediate level and above will find all four movements accessible, though In the Hall of the Mountain King suits advancing students seeking a showpiece with cultural weight. Teachers seeking concert repertoire that students recognize and enjoy will appreciate how these four movements deliver impact without excessive technical demand.

How to get the most out of it

  • Treat Morning Mood as a study in maintaining evenness through transparent accompaniment patterns; the melody must float without the left hand becoming rhythmically prominent.
  • In Åse's Death, shape the descending chromatic lines with gradual diminuendo rather than sudden drops in dynamics; let the harmonies speak.
  • Anitra's Dance demands clarity in the rhythmic figuration and rhythmic precision to maintain the dance's propulsive energy without rushing.
  • The Mountain King requires complete comfort with the steady ostinato in the left hand so that the right hand melody can build intensity without losing its fundamental groove.

How to use it

Open a concert with Morning Mood for an elegant, recognizable entrance into the evening. The suite works as a substantial solo feature in a mixed program, or program the movements individually across multiple concerts to pace repertoire throughout the year. Students will connect this music to Ibsen and Scandinavian culture, making it rich for interdisciplinary conversations.

Skills your students will build

  • Balancing melody against flowing accompaniment patterns in varied textures
  • Shaping long-line harmonic progressions, especially through chromaticism
  • Rhythmic stability and independence between hands in dance-based material
  • Dynamic control and tonal gradation across a four-movement arc
  • Interpreting ostinato-driven accompaniment as expressive rather than mechanical

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