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Home , Brand (play), Edmund Neupert, Ghosts (play), Leopold Damrosch, Morning Mood, Peer Gynt

Notes on the Program By James M. Keller, Program Annotator, The Leni and Peter May Chair

Peer Gynt Suite No. 1, Op. 46 Piano in , Op. 16

dvard Grieg stands as the most essential Ecomposer in the history of Norwegian IN SHORT music, a distinction he already clinched Born: June 15, 1843, in , during his lifetime and would not relinquish in posterity. When he was growing up, his Died: September 4, 1907, in Bergen native country could offer a composer only Works composed and premiered: inciden- limited opportunities for advanced study; tal music to the , composed and so he left Norway to enroll, from 1858 to May 1874–September 1875, with additions and 1862, at the Conservatory, a destina- revisions continuing through 1902; the four tion for many international music students movements of Peer Gynt Suite No. 1, assembled for publication in 1888; ’s of the time and a sturdy source of tradition- play Peer Gynt premiered in Christiania (later al learning when it came to musical funda- known as ), Norway, on , mentals and composition. Although in his 1876, with conducted by later years Grieg would speak of the Leipzig Johan Hennum; Suite No. 1, premiered Conservatory in unflattering terms, the four January 24, 1889, at Chickering Hall in New years he spent there were undeniably im- York City, with Theodore Thomas leading his portant to his development, thanks to his . composed June work with such eminent teachers as Ignaz 1868 to early 1869; revised substantially in Moscheles for piano and Carl Reinecke for 1872, 1882, 1890, and 1895; premiered April 3, composition. Following his conservatory 1869, in by the Orchestra of the studies, he spent a period in Copenhagen, Royal , , conductor, , soloist which was enjoying the most cosmopolitan musical life of any city in . There premieres and he developed a friendship with Rikard Nor- most recent performances: Peer Gynt Suite draak, a compatriot who was spearheading No. 1, premiered June 23, 1901, in Philadelphia nationalistic sentiments among artists in Pennsylvania, with conduct- ing the New York Symphony (which merged Norway. Immediately following Nordraak’s with the New York Philharmonic in 1928); most early death, in 1866, Grieg returned to his recently performed July 23, 2003, at Bravo! native land, which would be his home from Vail in Colorado, Roberto Minczuk, conduc- that point on. tor. Piano Concerto, premiered January 2, Norway’s most significant literary figure 1879, with Leopold Damrosch the during that time was (1828– New York Symphony, Franz Rummel, soloist; 1906), although his countrymen were slow to most recently played July 24, 2015, at Bravo! recognize that fact. Unlike Grieg, he enjoyed Vail, Bramwell Tovey, conductor, Jon Kimura a strictly Norwegian upbringing. During his Parker, soloist early years as a writer, he scraped by with Estimated durations: Peer Gynt Suite No. 1, the slight income he derived from work as ca. 14 minutes; Piano Concerto, ca. 29 minutes

26 | NEW YORK PHILHARMONIC a playwright, director, and administrator haven’t had much on which to base my at theaters in Bergen and Christiania (later poem, but it has meant that I have had all named Oslo). Success eluded him, and he the more freedom with which to work on it. grew so disenchanted that in 1864 he left for , where he mostly remained in self- Left to his own devices, Ibsen came up imposed exile for 27 years. While on the con- with a meandering tale about an anti-hero tinent he penned a succession of admired (as described by Rolf Fjelde, who translated plays: , Peer Gynt, A Doll’s House, the play into English) “with no ruling pas- , , The Wild sion, no calling, no commitment, the eternal Duck, and . opportunist, the charming, gifted, self- When Ibsen began sending parts of his centered child who turns out finally to have Peer Gynt manuscript to his publisher, he neither center nor self.” In the course of 40 explained the work’s starting point in an ac- scenes, the title character has a variety of companying letter: adventures and travels as far as North Af- rica before arriving back in Norway for a Peer Gynt was a real person who lived in hallucinatory finale in which he is faced the Gudbrandsal, probably around the with the strands of his life that have gone end of the last century or the beginning awry. He probably ends up dying, although of this one. … Not much more is known one can’t be sure. about his doings than you can find in As- The -play met with reasonable suc- bjørnsen’s Norwegian Fairy Tales. ... So I cess when published, in 1867, but it didn’t

The Work at a Glance

Grieg extracted two concert suites from his Peer Gynt music, the first being published in 1888, the second in 1893. Suite No. 1 is far the more famous, and for many decades it was a sta- ple of music education curricula for the young. Most people probably assume that its opening movement, “,” depicts the sun of dawn playing among the fjords, but in the play (it falls in IV) it accompanies a sunrise in the North African desert. “Åse’s Death” (from Act III) involves the death of Peer’s mother, whom he treated ungratefully but whose passing he mourns deeply. “Anitra’s Dance” falls short- ly after “Morning Mood” in Act IV of the play, where it serves as a seductive waltz for a danc- ing girl in the tent of an Arab chief. “The Hall of the Mountain King” harks back to Act II, where Peer matches wits with a menacing troll king.

Peer Gynt and the Troll Witch, illustration by , 1936

MARCH 2019 | 27 receive a staged production until 1876, Grieg was not at his most comfortable when when it was produced in Christiania with writing in large forms. His Four Symphonic accompanying music by Grieg. Neither the Dances are as close as he came to a proper playwright nor the composer was in atten- symphony (apart from a very early student dance on that occasion. Ibsen had written exercise) and he composed only five sonatas from Italy to ask Grieg to provide music (one for piano, one for , three for ) for the production, and the composer had and two string quartets (of which the first, a accepted, misjudging the amount of music student work, is lost; of a third string quar- that would be required. “Peer Gynt goes tet he finished only two movements). Grieg’s very slowly,” he wrote to a friend in 1874, Piano Concerto therefore stands as an ex- while he was enmeshed in the project: ception in his catalogue, but even its very protracted creation testifies to his difficulty It is a horribly intractable subject except coming to terms with large-scale structure. for a few places …. And I have something He was certainly trained in the textbook for the hall of the troll-king that I liter- forms through the curriculum of the Leipzig ally can’t bear to listen to, it reeks so of Conservatory, which resolutely instilled in cow-pads and super-Norwegianism. its pupils an appreciation for tried-and-true ways of creating music. His piano teacher In the end he would provide 26 separate during his upper-class years there was a cer- items for the play (a few having been added for tain Ernst Ferdinand Wenzel, who had been revivals), totaling about 90 minutes of music. a friend of Mendelssohn’s and Schumann’s;

Listen for . . . Grieg’s Fingerprint

Grieg’s Piano Concerto opens with a crescendo roll on the that leads to a forceful A- minor chord from the orchestra and then a flourish from the piano that descends through several octaves, repeating its motif six times as it cascades downwards:

The three-note melodic germ behind this is widely viewed as Grieg’s melodic fingerprint, the fall- ing interval connecting the tonic to the fifth below by way of the seventh — “do-ti-sol” for the solfeggists among us. This motif plays a prominent role in Norwegian folk music, and it certainly was part of Grieg’s musical DNA, showing up — sometimes in the foreground, sometimes not — in a great many of his compositions.

28 | NEW YORK PHILHARMONIC he inspired in Grieg a particular passion for minted conservatory graduate he rented a the music of the latter. Grieg heard Clara performance space in which to present a Schumann perform her husband’s Piano concert that included his own String Quar- Concerto and for decades he continued to tet in D minor. In any case, his reminiscence cite it as a deeply affecting musical experi- accurately conveys his infatuation with the ence. In a 1903 article in The Century maga- music of Schumann and, specifically, with zine, Grieg wrote of that concerto: Schumann’s Piano Concerto. It is perfect- ly normal for audience members hearing Inspired from beginning to end, it stands un- Grieg’s Piano Concerto to remark on how paralleled in music literature and astonishes very much it reminds them of Schumann’s us as much by its originality as by its noble — in both cases in the key of A minor, in disdaining of an “extravert, virtuoso style.” It both cases representing the composer’s only is beloved by all, played by many, played well entry in the genre. The similarities contin- by few, and comprehended in accordance ue at the level of specifics: both begin with with its basic ideas by still fewer — indeed, a wallop from the orchestra and a descend- perhaps by just one person — his wife. ing flourish from the piano, leading to the hushed enunciation of the principal theme In an article published in 1905 by the by the orchestra (stressing woodwinds) … American journal The Independent, Grieg and on and on. recalled that he was so captivated by that And yet, it would not be accurate to char- piece that he traded the only manuscript acterize Grieg’s Concerto as a mere parody of of his early string quartet (which he con- Schumann’s. Without trying to hide his ad- sidered mediocre) to acquire a copy of the miration of its model, Grieg produced a work Schumann score: of considerable originality that displays the uniqueness of his own voice, nowhere more One day a fellow student who admired my than in the folk-inflected finale, the de- creative efforts led me into temptation. tails of which were particularly admired by He had a complete score of Schumann’s Liszt and Tchaikovsky. Liszt offered Grieg Piano Concerto, which he had written some advice about orchestral scoring; and out himself, and which at that time had although Grieg adopted some of those sug- not yet been published except for a piano gestions, he ended up weeding out most of reduction and separate orchestral parts. them as he returned to revise this concerto “If you will give me your quartet,” he over nearly three decades. said one day, “I will give you the score of Schumann’s concerto.” I could not resist Instrumentation: Peer Gynt Suite No. 1 calls the offer. I still think with secret dread for two and piccolo, two , two clar- about the fact that my abortive early work inets, two , four horns, two , very likely still exists somewhere in one of three , , timpani, triangle, bass the countries of southern Europe. drum, cymbals, and strings. Piano Concerto employs two flutes (one doubling piccolo), Possibly Grieg was embroidering his two oboes, two , two bassoons, four tale, or at least he had his chronology off, since horns, two trumpets, three trombones, timpani, shortly after he returned to Bergen as a newly and strings, in addition to the solo piano.

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