SUPER AUDIO CD Grieg Piano • Incidental Music to ‘’

Lise Davidsen soprano Ann-Helen Moen soprano Victoria Nava soprano Johannes Weisser baritone Håkon Høgemo Jean-Efflam Bavouzet piano Philharmonic Orchestra and Choirs Edward Gardner Imagno / Mary Evans Picture Library Picture Mary Evans

Edvard Grieg, c. 1875 (1843 – 1907)

Incidental Music to ‘Peer Gynt’, Op. 23 (1874 – 75, revised 1885, 1991 – 92, and 1902)* 54:39 for Solo Voices, Chorus, and Orchestra

Act I 1 1 I bryllupsgården (At the Wedding). Prelude to Act I. Allegro con brio – Poco andante – Un poco allegro. Tempo di Halling – Poco andante – Vivace. Tempo di Springar – Poco andante – Allegro con brio 4:56 Håkon Høgemo Hardanger fiddle 2 2 Halling. Scenes 2 and 3. Allegretto 0:42 Håkon Høgemo Hardanger fiddle 3 3 Springar. Scene 3. Allegro vivace 1:08 Håkon Høgemo Hardanger fiddle

3 Act II 4 4 Bruderovet. Ingrids klage (The Abduction of the Bride. Ingrid’s Lament). Prelude to Act II. Allegro furioso – Andante – Allegro furioso – Andante doloroso – Allegro furioso – Andante – Allegro furioso – Andante 4:17 5 5 Peer Gynt og seterjentene (Peer Gynt and the Herd Girls). Scene 3. Allegro marcato – Molto meno allegro – Poco più allegro – Allegro vivace – Tempo I – Quasi presto 3:34 6 8 I Dovregubbens hall (In the Hall of the Mountain King). Scene 6. Alla marcia e molto marcato – Più vivo 2:33 Bergen Pikekor Bergen Guttekor Edvard Grieg Ungdomskor Edvard Grieg Kor Bergen Philharmonic Choir Håkon Matti Skrede chorus master 7 9 Dans av Dovregubbens datter (Dance of the Mountain King’s Daughter). Scene 6. Allegretto alla burla – Presto (Doppio movimento) 1:51

4 Act III 8 12 Åses død (The Death of Åse). Prelude to Act III. Andante doloroso 4:32

Act IV 9 13 Morgenstemning (). Prelude to Act IV. Allegretto pastorale 4:21 10 15 Arabisk dans (Arabian Dance). Scene 6. Allegretto vivace 4:58 Edvard Grieg Ungdomskor Edvard Grieg Kor Bergen Philharmonic Choir Håkon Matti Skrede chorus master 11 16 Anitras dans (Anitra’s Dance). Scene 6. Tempo di Mazurka 3:43 12 17 Peer Gynts serenade (Peer Gynt’s Serenade). Scene 7. Poco andante – Allegretto – Allegro – Tempo I [Allegretto] – Allegro molto 2:28 13 19 Solveigs sang (Solveig’s Song). Scene 10. Un poco andante – Con moto – Allegretto tranquillamente – Andante. Tempo I – Con moto – Allegretto tranquillamente – Andante. Tempo I 5:31

5 Act V 14 21 Peer Gynts hjemfart. Stormfull aften på havet (Peer Gynt’s Homecoming. Stormy Evening on the Sea). Prelude to Act V. Allegro agitato 2:09 15 25 Pinsesalme: ‘Velsignede morgen’ (Whitsun Hymn: ‘Oh Blessed Morning’). Scene 10 1:18 Edvard Grieg Ungdomskor Edvard Grieg Kor Bergen Philharmonic Choir Håkon Matti Skrede chorus master 16 26 Solveigs vuggevise (Solveig’s Cradle Song). Scene 10. Lento 6:32 Edvard Grieg Ungdomskor Edvard Grieg Kor Bergen Philharmonic Choir Håkon Matti Skrede chorus master

6 Concerto, Op. 16 (1868, revised 1907)† 28:21 in • in a-Moll • en la mineur for Piano and Orchestra 17 I Allegro molto moderato – Animato – Più lento – Animato – Tranquillo – Tempo I – Animato – Più lento – . Adagio – Presto – Lento – Tempo I – Tempo I – Poco più allegro 12:09 18 II Adagio – Lento – 6:15 19 III Allegro moderato molto e marcato – Poco animato – Poco più tranquillo – Tempo I animato – Meno allegro – Tempo I – Quasi presto – Andante maestoso 9:54 TT 83:12

Lise Davidsen soprano (Første seterjente, Anitra)* Ann-Helen Moen soprano (Anden seterjente, Solveig)* Victoria Nava soprano (Tredje seterjente)* Johannes Weisser baritone (Peer Gynt)* Jean-Efflam Bavouzetpiano † Bergen Philharmonic Orchestra Melina Mandozzi leader Edward Gardner

7 Oddleiv Apneseth

Bergen Philharmonic Orchestra, at Grieg’s home, , in Bergen Grieg: / Incidental Music to ‘Peer Gynt’

Piano Concerto in A minor, Op. 16 The A minor Concerto has these qualities. A single work – a single thought Grieg presents the whole ‘picture’ in the first One of the works of Edvard Grieg chord. Then – as in the case of a Christmas (1843 – 1907) has always been deemed to calendar – he opens the windows one by one, be in a class of its own, both in Grieg’s day and at the end we have the complete picture, and today. That is the Piano Concerto in in all its details, and we can listen to it again A minor, Op. 16. It will always stand out as and again. a shining example of a single great thought The opening notes of the Piano Concerto captured and expressed in music. From start in A minor (A – A – G sharp – E) have become to finish the concerto contains one single idea the archetypal Grieg motif. We find this that is constantly expanded upon and given motif in a number of his pieces, but it is used new colour and nuance. Whichever part of to greatest effect in the opening of the Piano the concerto you listen to there can never be Concerto. He spans several octaves with this any doubt that it is the Piano Concerto in motif, linking its recurrences with a minor A minor that is being played. triad (E – C – A). The leitmotif is just like Grieg chose the most daring of openings for Grieg himself: neither major nor minor, or the work. As the first chord sounds, in some perhaps both at the same time. Grieg’s most magical way it contains the entire concerto, youthful and brilliant work is actually in with all its intensity of colour and shading. minor – but with many themes in major – It is like seeing a painting or a sculpture. In a nearly to the end. flash you see it all, but you can use hours and After the majestic opening, Grieg days to discover every detail. Great art has an presents the first theme in the orchestra in enormous overflow of information, so you can characteristic fashion. The first two bars are in come back time after time, and every time you A minor, then these bars are repeated almost will discover something new – conceive new exactly, but transposed up to . In the ideas and gain deeper insight. exposition the theme is presented concisely,

9 with rhythmic suppleness, before it is set free in back in full force, and the movement draws to long billowing phrases. a grandiose conclusion. The tension mounts towards the end of the In a letter to his parents, Grieg described the first movement, culminating in the soloist’s reaction of when the latter played embellishment of the material in the Cadenza. through the concerto for the first time, during And then, quite unexpectedly, Grieg makes the Grieg’s trip to Rome in the spring of 1870: piano leap over the edge of a harmonic abyss. There is one perfectly divine episode The jump, the falling through empty space, and that I should not forget. Towards the the landing are all so masterfully crafted that it end of the Finale, as you will remember, is easy to understand why the audience at the the second theme is repeated in a great first performance broke out in spontaneous fortissimo. In the very last bars, where applause. the first note of the first triplet of the In the second movement, Adagio, this theme – G sharp – is changed to unbroken stream of inspired thought G in the orchestra, while the piano in continues. Beauty, tranquillity, cessation of a tremendous scale passage traverses the time and gravity – everything just is in this entire keyboard, he suddenly stopped, beautiful space. Grieg was so confident of the rose to his full height, left the piano, and inherent quality of the material that he had the with mighty theatrical steps and raised courage to stick to a single tempo throughout arms strode through the great monastery the entire movement, creating a musical still hall, literally roaring out the theme. life. When he got to the above-mentioned The last movement,Allegro moderato molto G, he gestured imperiously with his arm e marcato, is heralded quietly but rhythmically and cried: ‘G, G, nicht Giss! Famos! Das by the wind section, before the piano enters ist so echter schwedischer Banco!’ He with its playful dancing main theme, a halling; then went back to the piano, repeated in the very romantic second theme the the whole phrase, and concluded. seems to anticipate ‘Morgenstemning’ (Morning Mood) in Peer Gynt. The melody The concerto’s composition floats for a moment and then vanishes into Edvard Grieg had studied in thin air. The recapitulation brings the theme in 1858 – 62, and there he heard Clara

10 Schumann playing ’s Piano Edvard Grieg went to Rome for the first time Concerto in A minor. Grieg wrote in his diary in 1865, and there he came into contact with many years later: artists and scientists at the Scandinavian When you are young, your brain is like Society in that city. wax, – every impression is imprinted It was here that Grieg first met Henrik and stays forever. Ibsen (1828 – 1906), and the talented young When Grieg left for in the musician soon caught Ibsen’s attention. summer of 1868 to visit ’s family Although the two only met face to face a few and present the new-born child, Alexandra, he times, in Rome and later on, Ibsen (though also had the intention and idea of composing he knew little about music) was convinced a piano concerto. His friends secured a room that Grieg was the man to tackle the greatest with piano at Mothgaard in Søllerød – some challenges in the field of music. thirty km north of Copenhagen. There he managed to fulfil the idea of the concerto, and An invitation he even had the possibility to discuss the work, In January 1874 Ibsen wrote a long letter as it progressed, with congenial colleagues such to Grieg from Dresden, inviting him to as Emil Horneman and the well-known pianist compose incidental music to his famous . dramatic poem Peer Gynt. The director of the The premiere took place in April 1869 in Christiania Theatre, Ludvig Josephson, had Casino’s Grand Hall with Neupert as soloist asked Ibsen to adapt Peer Gynt for a stage and conducting the production. He had promised Ibsen the sum Orchestra of The Royal Theatre. The Russian of 400 spesiedaler for this undertaking. Ibsen pianist also attended the replied to an enthusiastic Josephson that he concert, and Neupert was allowed to borrow would his grand piano for the occasion. The concerto arrange Peer Gynt as a musical drama. was an immediate success, and has remained The music will be composed this popular ever since. summer. In his letter to Grieg, Ibsen proposed that Incidental music to ‘Peer Gynt’ they divide the fee equally between them. The idea of working together started in Rome Ibsen had many ideas about the music, but he

11 concluded by saying that Grieg would be free Suites (Op. 46 and Op. 55). The suites do not to decide himself what the music should be. follow the sequence of events in the drama, Grieg started work on the music in 1874, while the more numerous excerpts here do. but it was only finished in late autumn 1875 and it premiered at a performance of the play The music in Christiania (as was then named) on Grieg was rooted in the Norwegian folk music 24 February 1876. tradition, but also in the Western European tradition, as he was brought up in the only ‘The most unmusical of all subjects’ European city in , Bergen, and because Grieg struggled a lot with the material. In a he was trained as a German composer. letter to his friend Frants Beyer he writes: Some critics say that Grieg’s music is The work onPeer Gynt goes very slowly, ‘wrong’ in the context of the more expressive and to finish this autumn is impossible. drama of Ibsen, but we must be aware of what It is the most unmusical of all subjects, Grieg actually set out to do. except for a few places such as where Ibsen wanted him to write music that Solveig is singing. And I have made ‘followed’ the drama, but gave Grieg full something for The Hall of the Mountain freedom. Grieg took a different course for King, and I cannot bear to listen to it some of the pieces. ‘Morgenstemning’ is a because of the smell of cow-dung, the good example: it sounds romantic and pure as Norwegianism x 2, and the Selfishness. a Norwegian landscape. There are altogether twenty-six numbers of At the opening of Act IV, Peer Gynt has incidental music, some of them accompanying lost his fortune, and is abandoned in the speech or song. For some performances desert of North Africa. Then, from the pit, Grieg would add other compositions, such comes the melody of ‘Morgenstemning’. The as ‘Brudefølget drager forbi’ (The Bridal sound is as far removed from the dramatic Procession) from the piano pieces Op. 19, situation as could be imagined. The melody is as orchestrated by pentatonic, a pattern well known in folk music (1864 – 1935) (available with the download from all over the world. We shall find this version of this album). Grieg himself selected melody sounding from the sympathetic strings eight of the numbers to produce two orchestral (understrenger) of a Hardanger fiddle.

12 A few strings of memory resonated, as it a complete edition of Grieg’s works (1993), were, in the spine of Peer Gynt, and Grieg is and it is from this edition that the excerpts ‘playing’ on these strings of the subconscious, on this recording have been taken. They are reminding Peer of the woman – far away in performed by Grieg’s own orchestra, the time – who had promised to wait for him. Bergen Philharmonic Orchestra, which is the The music does not represent what we orchestra of the music society ‘Harmonien’, see on stage, but what is in the mind of Peer established in 1765, which Grieg directed Gynt. from 1880 till 1882. Grieg adopts the same principle in ‘Anitras © 2018 Erling Dahl dans’ (Anitra’s Dance). It is the loveliest melody that Grieg wrote, but Anitra is only lovely in the mind and eyes of Peer Gynt. She A superb talent, the Norwegian soprano Lise is a dirty desert girl, of ‘untraditional forms’, Davidsen shot to prominence in summer and she steals the only fortune left to him – 2015 when she won the First Prize, the Birgit an emerald ring. Nilsson Award, and the Audience Prize at On the other hand, Grieg is fully capable the Operalia competition in London, and of writing dramatic music, both in the the prize for best performance of Norwegian Wagnerian-like ‘Stormfull aften på havet’ music and the Ingrid Bjoner Scholarship (Stormy Evening on the Sea) and in his at the Queen Sonja International Music masterpiece, ‘I Dovregubbens hall’ (In the Competition. The recipient of countless Hall of the Mountain King) – the very first, other awards and prizes, she made her and still the best, piece of rock ’n’ roll made debuts at Opernhaus Zürich as Agathe in Norway. (Der Freischütz), Teatro Colón, Buenos Aires Late in life, Grieg hoped to have time and as Isabella (Das Liebesverbot), Glyndebourne strength to revise the complete music to Peer Festival Opera, Wiener Staatsoper, and Gynt, but he could not manage to do it. His Festival d’Aix-en-Provence as Ariadne friend Johan Halvorsen prepared a revised (Ariadne auf Naxos), and the Wexford version, which was published by Peters Verlag Festival in the title role of Cherubini’s in Leipzig. Later, The Grieg Commission, Médée. She recently appeared as Freia led by professor Finn Benestad, produced (Das Rheingold) with the Odense Symphony

13 Orchestra, Ortlinde (Die Walküre) at MDR Sinfonieorchester Leipzig to the opera Bayerische Staatsoper, and Freia and houses of Zürich and Hannover. While Third Norn (Der Ring des Nibelungen) at widely recognised as a significant interpreter Oper Frankfurt. She has sung Beethoven’s of Mozart, she has also sung Handel’s Semele, Symphony No. 9 with the Aalborg Symphony Almirena (Rinaldo), and Dorinda (Orlando), Orchestra and the Royal Stockholm as well as Micaëla (Carmen), Tatyana Philharmonic Orchestra, Strauss’s Vier (Eugene Onegin), Madama Butterfly, Lieder, Op. 27 with the Antonia (Les Contes d’Hoffmann), Anne Orchestra, Verdi’s Messa da requiem with Trulove (The Rake’s Progress), Lauretta the Deutsch-Skandinavisches Jugend- (Gianni Schicchi), and Mimì (La bohème). Philharmonie (at the Philharmonie), Born in Molde, Norway, trained at the Philharmonia Orchestra, and Danish in Bergen and Royal Opera National Symphony Orchestra, and Strauss’s Academy in Copenhagen, and a winner of Vier letzte Lieder at the Concertgebouw, Norway’s most prestigious singing prize, and in Bucharest. During the the Esso Award, she began her career as a 2017 / 18 season Lise Davidsen is Artist company member at Oper Graz, and has in Residence at the Bergen Philharmonic appeared at Staatsoper Hannover, Opernhaus Orchestra with which she is a frequent Zürich, Danish National Opera, Théâtre collaborator, having given a summer concert -Villette, Teatro Verdi Trieste, and at at Torgallmenningen with Edward Gardner, companies in , , and Ireland. Lied and opera recitals with the pianist James As a sought-after concert artist she enjoys Baillieu, Wagner’s Wesendonck Lieder, and a particularly close relationship with the Verdi’s Requiem. Bergen Philharmonic Orchestra, with which she has recorded and toured extensively. Ann- A lyric soprano known for her clarity and Helen Moen has sung repertoire from Bach beauty of tone as well as for the focus of her to Korngold with all the major Scandinavian delivery, Ann-Helen Moen has performed orchestras and worked with conductors such with some of the most distinguished as Masaaki Suzuki, Rinaldo Alessandrini, ensembles and companies in the world, William Christie, Harry Christophers, from the Bach Collegium Japan and Sir Andrew Davis, Eivind Gullberg Jensen,

14 Philippe Jordan, Kristjan Järvi, Andrew and Luciano Berio’s Folk Songs. She has Litton, Susanna Mälkki, and Juanjo Mena. worked with conductors such as Sir Antonio Pappano, Sir Charles Mackerras, Sir Edward The brilliant spinto soprano of Victoria Nava Downes, Maurizio Barbacini, Juanjo Mena, is well rooted in the Italian vocal tradition, Andrew Litton, Thomas Dausgaard, Marc having the stamina for Wagner, and a flair Soustrot, Giordano Bellincampi, and Edward for English as well as French opera. Having Gardner. Victoria Nava currently lives on the grown up in , Norway, this island of Askøy, outside Bergen. British-Italian singer also has a strong affinity for the Scandinavian repertoire. She studied The baritone Johannes Weisser has at the Conservatorio G. Rossini in Pesaro appeared at venues such as the Salzburger and Royal Opera Academy in Copenhagen, Festspiele, Staatsoper Berlin, Festspielhaus and also has a degree in Speech-Language Baden-Baden, Theater an der Wien, Théâtre Pathology from the University of Bergen. In royal de La Monnaie in Brussels, Théâtre 2003 she made her professional opera debut as des Champs-Élysées in Paris, Teatro Real Mimì (La bohème) in Cesena, , and spent in Madrid, Canadian Opera Company, the following two years in the prestigious Megaron in Athens, Den Norske Opera in Vilar Young Artist Programme of The Royal Oslo, Royal Danish Opera in Copenhagen, Opera, Covent Garden, where she made her Edinburgh International Festival, and debut as the High Priestess (Aida), and also Innsbrucker Festwochen der alten Musik. His covered or sang a repertoire ranging from operatic repertoire includes the title roles in Mozart to Shostakovich and Britten. In opera Eugene Onegin and Don Giovanni, Leporello houses across Europe she has performed (Don Giovanni), Guglielmo (Così fan tutte), Elisabetta (Don Carlo), Tosca, Aida, Manon Papageno (Die Zauberflöte), Schaunard (Manon Lescaut), Antonia (Les Contes (La bohème), Dr Malatesta (Don Pasquale), d’Hoffmann), and Margherita (Mefistofele). Mr Flint (Billy Budd), and Agamemnon Her international concert repertoire includes (Gluck’s Iphigénie en Aulide), as well as a large Verdi’s Messa da requiem, Strauss’s Vier number of roles in baroque and contemporary letzte Lieder, Beethoven’s Ninth Symphony, operas. He is a much-sought-after concert Henning Sommerro’s cantata The Iceberg, and oratorio singer, appearing throughout

15 Europe, Asia, and North America with many Wigmore Hall in London, Cité de la musique of today’s leading orchestras and conductors. in Paris, Concertgebouw and Muziekgebouw in He is an exceptionally communicative Lieder Amsterdam, BOZAR in Brussels, Schwetzinger singer whose recitals have attracted much SWR Festspiele, P.I. Tchaikovsky State attention, most especially his concerts with Conservatory in , and Forbidden the pianist . Johannes City Concert Hall in Beijing. Weisser may be heard in a number of Particularly celebrated for his work in the recordings, notably as Don Giovanni and on a recording studio, he has won Gramophone highly acclaimed CD of songs by Grieg. Awards for his recording of works by Debussy and Ravel with the BBC Symphony Orchestra His multi-award-winning recordings and and Yan Pascal Tortelier, and for the fourth dazzling concert performances have long volume of his complete survey of Debussy’s established Jean-Efflam Bavouzet as one of the works for piano. His interpretations of works most outstanding pianists of his generation. by Debussy and Ravel have also earned him Considered as Sir Georg Solti’s last discovery, two BBC Music Magazine Awards and a he works regularly with orchestras such as Diapason d’Or, whilst the first volume of The Cleveland Orchestra, San Francisco his series devoted to Haydn’s piano sonatas Symphony, NHK Symphony Orchestra, received a Choc de l’année by the magazine BBC Symphony Orchestra, and London Classica. He has just completed a major Philharmonic Orchestra with which he project to record all Beethoven’s piano has undertaken a major tour of the US that sonatas, winning exceptional critical acclaim culminated at Carnegie Hall, and collaborates for Volume 3, which was named CD of the with conductors such as Vladimir Ashkenazy, Month in Gramophone. He received another Vladimir Jurowski, Gianandrea Noseda, Gramophone Award for his recent recording François-Xavier Roth, Charles Dutoit, Vasily of Prokofiev’s five piano with Petrenko, Daniele Gatti, Gábor Takács-Nagy, the BBC Philharmonic under Gianandrea and Sir Andrew Davis, amongst others. Noseda. Jean-Efflam Bavouzet records An equally active recitalist and chamber exclusively for Chandos. musician, Jean-Efflam Bavouzet regularly A former student of Pierre Sancan at the performs at the Southbank Centre and Paris Conservatoire, he made his American

16 debut, in 1987, through Young Concert throughout Norway and abroad. Leading Artists, in New York. As well as directing composers have written numerous works concertos from the keyboard, he has prepared and arrangements specially for the choir, a transcription for two pianos of Debussy’s including an eight-part arrangement of Jeux, published by Durand with a foreword by Grieg’s ‘Holberg’ Suite and a setting of Pierre Boulez. www.Bavouzet.com Våren by David Lang. In addition to its busy performing schedule, the choir manages a Bergen Guttekor (established in 2008), comprehensive development and education Bergen Pikekor (established in 2010), and programme, dedicated to encouraging Edvard Grieg Ungdomskor (established a cappella singing to the highest level; it in 2013) are choirs associated with the includes five children’s choirs in Bergen, and Edvard Grieg Kor by means of a common Edvard Grieg Ungdomskor (members aged development strategy. Together these choirs sixteen to twenty-four), whose eclectic work provide dynamic and flexible training of has included an appearance in concert with members from as early as the age of six the Rolling Stones. The Edvard Grieg Kor years, who are employed by both the Bergen has recently participated in performances Philharmonic Choir and Bergen Nasjonale of Schoenberg’s Gurre-Lieder with the Opera. Berliner Philharmoniker conducted by Sir Simon Rattle, as well as Britten’s War The Norwegian vocal ensemble Edvard Requiem, Elgar’s The Dream of Gerontius, Grieg Kor, founded and based in Bergen, Haydn’s Die Schöpfung, and Britten’s Peter is the resident a cappella ensemble at Grimes. In 2017 the choir’s recording of Troldhaugen, the home of Edvard Grieg. Janáček’s Glagolitic Mass with the Bergen Displaying versatility across all musical Philharmonic Orchestra was nominated for genres, it performs regularly with the Bergen a Grammy award in the category Best Choral Philharmonic Orchestra and also forms the Performance. heart of the Chorus of Bergen Nasjonale Opera. It is rapidly gaining a reputation as Although formally founded in 1919, the a leading eight-part a cappella ensemble, Bergen Philharmonic Choir may date back giving more than fifty performances annually to 1765 when the Music Society Harmonien

17 was established for the purpose of organising in master-classes by Peter Schreier, Paul orchestral concerts. The Choir flourished Hillier, Kiri Te Kanawa, Bob Chilcott, during the tenure of Edvard Grieg as Music Njål Sparbo, and Robert Levine, appeared Director, his choral works still holding a as a soloist in numerous sacred works, and special place in its repertoire. In the past taken part in several operatic productions. decade, under its current director, Håkon He founded the Edvard Grieg Kor (formerly Matti Skrede, it has reached a new summit KorVest) in 2002, Bergen Guttekor in 2008, of excellence, appearing regularly with the Bergen Pikekor in 2010, and Edvard Grieg Bergen Philharmonic Orchestra in standard Ungdomskor in 2013. He is currently chorus symphonic repertoire, from Mozart to master for Bergen Nasjonale Opera and Britten, while also championing more Bergen Philharmonic Choir and conductor unusual repertoire and contemporary works. of Collegiûm Mûsicûm. Håkon Matti Highlights of its recent calendar include Skrede has conducted a number of operas performances of Britten’s Peter Grimes and with children and youths, such as Menotti’s War Requiem, Elgar’s The Dream of Gerontius, Amahl and the Night Visitors, Gluck’s Orfeo Janáček’s Glagolitic Mass, Arne Nordheim’s ed Euridice, Weill’s Der Jasager, and Bock Wirklicher Wald, and Schoenberg’s Gurre- and Harnick’s Fiddler on the Roof, as well Lieder, some of these in collaboration with as many large-scale sacred works for chorus other local choirs. Many discs have received and orchestra, including Handel’s Messiah, excellent reviews both near and afar, the the Requiems of Mozart, Duruflé, Fauré, recording of the Glagolitic Mass even earning and Brahms, and Britten’s The Company of a Grammy nomination for Best Choral Heaven. Performance. One of the world’s oldest orchestras, the Håkon Matti Skrede trained as a violinist Bergen Philharmonic Orchestra dates and singer at The Grieg Academy in Bergen. back to 1765 and thus in 2015 celebrated its As a chorister and student choirmaster 250th anniversary. Edvard Grieg had a close of the Drakensberg Boys Choir in South relationship with the Orchestra, serving as its Africa, he decided to develop his skills as artistic director during the years 1880 – 82. a choral conductor. He has participated Numbering one-hundred-and-one musicians,

18 the Orchestra has achieved the status of a The Orchestra has an active recording Norwegian National Orchestra. Edward schedule, at the moment releasing four CDs Gardner, the acclaimed Music Director of every year. Critics worldwide applaud its English National Opera, was appointed energetic playing style and full-bodied string Chief Conductor for a three-year tenure from sound. Recent and ongoing recording projects October 2015, a contract which has been include Messiaen’s Turangalîla-Symphonie, extended until 2021. The Orchestra enjoys ballets by Stravinsky, the symphonies, ballet a high international reputation through suites, and concertos by Prokofiev, and the recordings, extensive touring, and international complete orchestral music of Edvard Grieg. commissions. Enjoying long-standing artistic partnerships During the last few seasons it has played with some of the finest musicians in the in the Concertgebouw, Amsterdam, at the world, the Orchestra has recorded with Leif BBC Proms in the Royal Albert Hall, in Ove Andsnes, Jean-Efflam Bavouzet, James the Wiener Musikverein and Konzerthaus, Ehnes, Gerald Finley, Alban Gerhardt, Vadim in Carnegie Hall, New York, and in the Gluzman, Stephen Hough, Freddy Kempf, Philharmonie, Berlin. In 2015 it revisited Truls Mørk, Steven Osborne, Lawrence the Concertgebouw and the BBC Proms Power, and Stuart Skelton, among others. and toured Germany, Sweden, and Ireland. The Orchestra has recorded Tchaikovsky’s Together with Edward Gardner, it toured three great ballets and critically acclaimed Germany in 2016, visited England and the series of works by Johan Halvorsen and Johan Concertgebouw in spring 2017, and appeared Svendsen with Neeme Järvi, orchestral works at the Edinburgh International Festival in by Rimsky-Korsakov with Dmitri Kitayenko, August 2017. and music by Berlioz, Delius, Elgar, Sibelius, In 2015 the Orchestra established its own and Vaughan Williams with Sir Andrew Digital Concert Hall which offers a fine Davis. selection of works performed by the Orchestra The first collaboration on disc between and a range of conductors and soloists. A youth Edward Gardner and the Orchestra was symphony orchestra, Bergen Philharmonic a recording of orchestral realisations by Youth Orchestra, has also been established, Luciano Berio. A critically acclaimed series which gives four to six concerts per year. devoted to orchestral works by Janáček,

19 including a Grammy-nominated recording Orchestre national de , Filarmonica of his Glagolitic Mass, has been completed, della Scala, and NHK Symphony Orchestra. and Schoenberg’s Gurre-Lieder was released During the 2017 / 18 season he will return to in 2016. 2017 has seen the release of a CD the Gewandhausorchester Leipzig, London of orchestral songs by Sibelius, with Gerald Philharmonic Orchestra, and Deutsches Finley as soloist. www.harmonien.no Symphonie-Orchester Berlin, and make his debut with the New York Philharmonic, San Chief Conductor of the Bergen Philharmonic Francisco Symphony, and Chicago Symphony Orchestra since October 2015, Edward Orchestra. Gardner OBE has already led the orchestra Music Director of English National Opera for on multiple international tours, including ten years, from 2006 to 2015, Edward Gardner acclaimed performances in London, Berlin, continues to work with the world’s major opera Munich, and Amsterdam. Their semi- companies, maintaining ongoing relationships staged Peter Grimes at the 2017 Edinburgh with Teatro alla Scala, Milan and Opéra national International Festival was described as de Paris, and with The Metropolitan Opera, ‘the best I’ve ever seen’ by Alexandra New York, where he has conducted productions Coghlan in The Spectator, receiving five-star of Carmen, Don Giovanni, Der Rosenkavalier, reviews in The Times, The Daily Telegraph, and Werther. He is soon to return to De The Scotsman, and The Herald. In demand Nationale Opera, The Netherlands and make as a guest conductor, he enjoys longstanding his debut at The Royal Opera, Covent Garden. collaborations with the Philharmonia A passionate supporter of young talent, he Orchestra, City of Birmingham Symphony founded the Hallé Youth Orchestra in 2002 Orchestra, where he was Principal Guest and regularly conducts the National Youth Conductor 2010 – 16, and BBC Symphony Orchestra of Great Britain. He has a close Orchestra, which he has conducted at both relationship with the Juilliard School of Music, the First and Last Nights of the BBC Proms. and with the Royal Academy of Music which He has also conducted the Boston Symphony appointed him the inaugural Sir Charles Orchestra, National Symphony Orchestra, Mackerras Conducting Chair in 2014. Washington, Seattle Symphony, Minnesota He is an exclusive Chandos artist, whose Orchestra, Czech Philharmonic Orchestra, award-winning discography includes

20 recordings of works by Janáček, Elgar, at The Hallé, and went on to spend three Mendelssohn, Walton, Lutosławski, Britten, years as Music Director of Glyndebourne Berio, and Schoenberg. His recent recording Touring Opera. Edward Gardner was of orchestral songs by Sibelius with the Bergen named Conductor of the Year by the Royal Philharmonic Orchestra was shortlisted for a Philharmonic Society in 2008, received an 2017 Gramophone Award. Born in Gloucester Olivier Award for Outstanding Achievement in 1974, he was educated at the University in Opera in 2009, and was made an OBE for of Cambridge and Royal Academy of Music. Services to Music in the Queen’s Birthday On graduating he assisted Sir Mark Elder Honours in 2012. Jan Alsaker Jan Charlotte Gundersen Charlotte

Lise Davidsen Ann-Helen Moen

21 © Benjamin Ealovega© Benjamin Photography

Jean-Efflam Bavouzet Grieg: Klavierkonzert / Schauspielmusik für “Peer Gynt”

Klavierkonzert in a-Moll op. 16 dauern, bis man jedes Detail aufgenommen Ein einzigartiges Werk – ein einzigartiger hat. Große Kunst enthält einen enormen Gedanke Überfluss an Information, sodass man ein Eines der Werke von Edvard Grieg ums andere Mal wiederkommen kann, um (1843 – 1907) ist sowohl zu Griegs Lebzeiten jedes Mal etwas Neues zu entdecken – neue als auch heute als etwas Besonderes angesehen Ideen zu entwickeln und tiefere Einsichten worden. Dabei handelt es sich um das zu erlangen. Klavierkonzert in a-Moll op. 16. Es wird Das a-Moll-Konzert hat diese Qualitäten. immer hervorstechen als Paradebeispiel Grieg präsentiert das ganze “Bild” im ersten für einen einzigartigen großen Gedanken, Akkord. Dann öffnet er – gewissermaßen wie eingefangen und zum Ausdruck gebracht bei einem Adventskalender – ein Fenster nach in Musik. Von Anfang bis Ende enthält das dem anderen, und am Schluss haben wir das Konzert ein bestimmendes Motiv, das stetig vollständige Bild mit all seinen Details, und entwickelt und mit neuer Klangfarbe und wir können ihm immer wieder zuhören. Nuancierung erfüllt wird. Welchem Teil Die einleitenden Töne des Klavierkonzerts des Konzerts man auch zuhört, nie kann ein in a-Moll (A – A – Gis – E) sind zum Zweifel daran bestehen, dass es sich um das archetypischen Griegschen Motiv geworden. Klavierkonzert in a-Moll handelt. Wir finden dieses Motiv in mehreren Grieg wählte für das Werk die kühnste seiner Stücke, aber es kommt am Anfang mögliche Eröffnung. Wenn der erste Akkord des Klavierkonzerts am eindrucksvollsten erklingt, enthält er auf magische Weise das zum Einsatz. Er überspannt mit diesem ganze Konzert mit aller Intensität seiner Motiv mehrere Oktaven und verbindet seine Klangfarben und Schattierungen. Es ist, Wiederkehr jeweils mit einem Molldreiklang als betrachte man ein Gemälde oder eine (E – C – A). Das Leitmotiv entspricht Skulptur. Unmittelbar kann man das Ganze genau Grieg selbst: weder Dur noch Moll, sehen, doch es kann Stunden oder Tage oder vielleicht beides zusammen. Griegs

23 jugendlichstes und glanzvollstes Werk steht innewohnende Qualität des Materials, dass fast bis zum Ende in Moll – aber mit vielen er den Mut aufbrachte, den ganzen Satz Themen in Dur. hindurch ein einziges Tempo durchzuhalten Nach der majestätischen Eröffnung und so ein musikalisches Stillleben zu präsentiert Grieg das erste Thema im schaffen. Orchester auf charakteristische Weise. Die Der abschließende Satz, Allegro moderato ersten beiden Takte stehen in a-Moll, dann molto e marcato, wird leise, aber rhythmisch werden diese Takte fast genauso wiederholt, von den Bläsern angekündigt, ehe das doch nach C-Dur hinauftransponiert. In der Klavier mit seinem spielerisch tanzenden Exposition wird das Thema verknappt mit Hauptthema, einem Halling, einsetzt. rhythmischer Geschmeidigkeit präsentiert, Im äußerst romantischen Seitenthema ehe es in langen wogenden Phrasen freigesetzt scheint die Flöte die “Morgenstemning” wird. (Morgenstimmung) in Peer Gynt Die Spannung steigt gegen Ende des vorwegzunehmen. Die Melodie schwebt Kopfsatzes und gipfelt in der Ausschmückung einen Moment lang dahin und löst sich dann des Materials in der Kadenz durch den in Luft auf. Die Reprise bringt das Thema mit Solisten. Und dann lässt Grieg das Klavier aller Kraft zurück, und der Satz strebt einem ganz unerwartet über den Rand eines grandiosen Schluss zu. harmonischen Abgrunds springen. Der In einem Brief an seine Eltern beschrieb Sprung, der Fall in den leeren Raum und die Grieg die Reaktion von Franz Liszt, als Landung sind alle so meisterhaft gestaltet, dieser das Konzert während Griegs Reise dass ohne weiteres zu verstehen ist, warum das nach Rom im Frühjahr 1870 zum ersten Mal Publikum bei der Uraufführung in spontanen durchspielte: Applaus ausbrach. Es ist da eine ganz göttliche Episode, Im zweiten, Adagio bezeichneten Satz setzt die ich nicht vergessen sollte. Gegen sich dieser ungebrochene Strom inspirierter Ende des Finales wird, wie du dich Einfälle fort. Schönheit, Gelassenheit, die erinnern wirst, das Seitenthema in einem Aufhebung von Zeit und Schwerkraft – all großen Fortissimo wiederholt. In den das ist in diesem wunderbaren Raum einfach allerletzten Takten, wo die erste Note vorhanden. Grieg vertraute so sehr auf die der ersten Triole des Themas – Gis – im

24 Orchester zu G abgewandelt wird, Klavierkonzert zu komponieren. Seine während das Klavier in einer gewaltigen Freunde fanden ihm ein Zimmer mit Klavier Tonleiterpassage die ganze Tastatur im Landhaus Mothgaard in Søllerød – etwa überspannt, hielt er plötzlich inne und dreißig Kilometer nördlich von Kopenhagen. erhob sich, verließ das Klavier und Dort gelang ihm die Erfüllung der Idee des ging mit gewaltigen theatralischen Konzerts, und er hatte sogar die Möglichkeit, Schritten und erhobenem Arm durch das Werk mit geistesverwandten Kollegen die große Klosterhalle und sang nahezu wie Emil Horneman und dem bekannten brüllend das Thema. Beim oben Pianisten Edmund Neupert zu besprechen. erwähnten Fortissimo streckte er wie Die Uraufführung fand im April 1869 im ein Imperator seinen Arm aus und rief: Großen Saal des Casinos statt, mit Neupert g, g, nicht gis! Famos!! Das ist so echter als Solist und dem Orchester des Königlichen schwedischer Banco! Dann kehrte er Theaters unter der Leitung von Holger zum Klavier zurück und wiederholte die Simon Paulli. Der russische Pianist Anton ganze Phrase, ehe er abschloss. Rubinstein war auch zugegen und gestattete Neupert, für die Veranstaltung seinen Die Komposition des Konzerts Konzertflügel zu benutzen. Das Konzert war Edvard Grieg hatte 1858 – 1862 in ein unmittelbarer Erfolg und ist seither stets Leipzig studiert, und dort hörte er, wie populär geblieben. Robert Schumanns Klavierkonzert in a-Moll spielte. Viele Jahre Schauspielmusik für “Peer Gynt” später schrieb Grieg in sein Tagebuch: Der Gedanke für eine Zusammenarbeit Wenn man jung ist, hat man ein Gehirn begann in Rom wie Wachs, – jeder Eindruck prägt sich Edvard Grieg reiste 1865 erstmals nach Rom, ein und bleibt für immer. und dort nahm er Kontakt auf mit Künstlern Als Grieg im Sommer 1868 nach und Wissenschaftlern im Skandinavischen Kopenhagen aufbrach, um Nina Griegs Verein der Stadt. Familie zu besuchen und ihr das neugeborene Dort lernte Grieg erstmals Henrik Kind Alexandra vorzustellen, hatte er Ibsen (1828 – 1906) kennen, und der auch den Gedanken und die Absicht, ein talentierte junge Musiker erregte bald Ibsens

25 Aufmerksamkeit. Obwohl sich die beiden 1875 fertig und war erstmals am 24. Februar in Rom und auch später nur wenige Male 1876 bei einer Aufführung des Theaterstücks von Angesicht trafen, war Ibsen überzeugt, in Christiania (wie Oslo damals hieß) zu obwohl er wenig von Musik verstand, hören. dass Grieg der Richtige war, die größten Herausforderungen auf dem Gebiet der “Der unmusikalischste aller Stoffe” Musik in Angriff zu nehmen. Grieg hatte erhebliche Probleme mit dem Material. In einem Brief an seinen Freund Eine Einladung Frants Beyer schrieb er: Im Januar 1874 schrieb Ibsen aus Dresden Die Arbeit an Peer Gynt geht einen langen Brief an Grieg, mit dem er ihn sehr langsam voran, und es ist einlud, Schauspielmusik für seine berühmte mir nicht möglich, sie bis zum dramatische Dichtung Peer Gynt zu schreiben. Herbst abzuschließen. Es ist der Der Direktor des Christiania-Theaters, Ludvig unmusikalischste aller Stoffe, außer Josephson, hatte Ibsen gebeten, Peer Gynt für an einigen Stellen, beispielsweise eine Bühneninszenierung zu bearbeiten. Er wenn Solveig singt. Und für die hatte Ibsen die Summe von 400 spesiedaler Halle des Bergkönigs habe ich etwas für dieses Unterfangen versprochen. Ibsen geschaffen, das ich mir nicht anhören erwiderte dem enthusiastischen Josephson, er kann vor lauter Gestank von Kuhmist, werde dem Norwegianismus x 2 und der Peer Gynt als Musikdrama arrangieren. Selbstsucht. Die Musik wird diesen Sommer Die Bühnenmusik besteht aus insgesamt komponiert. sechsundzwanzig Nummern, von denen In seinem Brief an Grieg schlug Ibsen vor, einige Sprache oder Gesang begleiten. Für das Honorar zu gleichen Teilen auf sie zu manche Aufführungen sollte Grieg andere verteilen. Ibsen hatte viele Ideen zur Musik, Kompositionen hinzufügen, z.B. “Brudefølget doch er meinte abschließend, Grieg werde frei drager forbi” (Die Brautprozession) aus den über die Musik entscheiden können. Klavierstücken op. 19, in der Orchestrierung Grieg begann 1874 mit der Arbeit an der von Johan Halvorsen (1864 – 1935) (erhältlich Musik, doch sie wurde erst im Spätherbst mit der Download-Version des Albums).

26 Grieg selbst wählte acht Nummern aus, um die Melodie der “Morgenstemning”. Der zwei Orchestersuiten zu erstellen (op. 46 Klang ist so weit entfernt von der Situation und op. 55). Die Suiten halten sich nicht im Drama, wie man sich nur vorstellen kann. an die Abfolge des Geschehens im Drama, Die Melodie ist pentatonisch, eine Form, im Gegensatz zu den hier vorliegenden die in den Volksmusiken aller Welt üblich zahlreicheren Auszügen. ist. Wir werden diese Melodie hören, wie sie in den Resonanzsaiten (understrenger) einer Die Musik Hardanger-Fiedel erklingt. Grieg war in der Tradition norwegischer Einige Saiten der Erinnerung klingen Volksmusik verankert, aber auch in der gewissermaßen im Rückgrat von Peer Gynt westeuropäischen Tradition, denn er war in nach, und Grieg “spielt” auf diesen Saiten Bergen, der einzigen europäischen Stadt in des Unterbewussten, um Peer an die Frau Norwegen, aufgewachsen und als deutscher zu erinnern, die – in weit entfernter Zeit – Komponist ausgebildet. versprochen hatte, auf ihn zu warten. Manche Kritiker behaupten, Griegs Musik Die Musik repräsentiert nicht, was wir auf sei “falsch” im Kontext von Ibsens eher der Bühne sehen, sondern das, was sich im ausdrucksvollen Drama, doch wir müssen uns Kopf von Peer Gynt abspielt. darüber im Klaren sein, was Grieg eigentlich Das gleiche Prinzip bringt Grieg in “Anitras vorhatte. dans” (Anitras Tanz) zur Anwendung. Ibsen wollte, dass er Musik verfasste, Es ist die lieblichste Melodie, die Grieg die dem Drama “folgte”, ließ Grieg aber je geschrieben hat, auch wenn Anitra alle Freiheiten. Grieg entschied sich für nur im Kopf und in den Augen von Peer manche Stücke für einen anderen Kurs. Gynt so lieblich ist. Sie ist ein schmutziges “Morgenstemning” ist dafür ein gutes Wüstenmädchen von “untraditioneller Beispiel: Es klingt romantisch und rein wie Gestalt”, und sie stiehlt die einzige Wertsache, eine norwegische Landschaft. die ihm noch verblieben ist – ein Smaragdring. Am Beginn des 4. Akts hat Peer Gynt sein Andererseits ist Grieg durchaus imstande, Vermögen verloren und befindet sich einsam dramatische Musik zu schreiben, sowohl in und verlassen in der nordafrikanischen dem an Wagner gemahnenden “Stormfull Wüste. Da erklingt aus dem Orchestergraben aften på havet” (Stürmischer Abend auf

27 dem Meer) als auch in seinem Meisterstück, später eine vollständige Ausgabe von Griegs “I Dovregubbens hall” (In der Halle des Werken herausgebracht (1993), und dieser Bergkönigs) – dem allerersten und immer noch sind die Auszüge der vorliegenden Einspielung besten Rock’n’Roll-Stück aus Norwegen. entnommen. Dargeboten werden sie von Griegs Spät in seinem Leben hoffte Grieg, die eigenem Orchester, dem Bergen Filharmoniske Zeit und die Kraft zu haben, die vollständige Orkester, bei dem es sich um das Orchester der Peer-Gynt-Musik zu überarbeiten, aber es Musikgesellschaft “Harmonien” handelt, 1765 gelang ihm nicht. Sein Freund Johan Halvorsen gegründet und von 1880 bis 1882 von Grieg bereitete eine revidierte Fassung vor, die geleitet. vom Peters Verlag in Leipzig herausgegeben wurde. Die Grieg-Kommission unter der © 2018 Erling Dahl Leitung von Professor Finn Benestad hat Übersetzung: Bernd Müller Ralph Couzens

Jean-Efflam Bavouzet, centre, with Edward Gardner, right, and the producer, Brian Pidgeon, during playback of Grieg’s Piano Concerto

28 Grieg: Concerto pour piano / Musique de scène de “Peer Gynt”

Concerto pour piano en la mineur, op. 16 chaque détail. Il y a dans le grand art un Une œuvre unique – une pensée unique foisonnement d’informations, ce qui permet Le Concerto pour piano en la mineur, op. 16 d’y revenir sans cesse et d’y découvrir du neuf d’Edvard Grieg (1843 – 1907) est une œuvre à chaque fois, d’avoir des pensées nouvelles dont la destinée a toujours été de se trouver qui nous viennent à l’esprit et de pénétrer dans une catégorie à part, que ce soit à l’époque l’œuvre en profondeur. de Grieg ou de nos jours. Elle fera de tout Le Concerto en la mineur a ces qualités. temps figure d’exemple brillant d’une pensée Grieg présente le “tableau” tout entier dans grandiose, unique en son genre, captée et le premier accord. Puis – comme avec un exprimée en musique. Le concerto est centré calendrier de l’Avent –, il ouvre les fenêtres de bout en bout sur une seule idée qui est une à une, nous laissant découvrir à la fin constamment développée, et parée de couleurs l’image complète, dans tous ses détails, une et de nuances nouvelles. Quelle que soit la description musicale que nous pouvons partie du concerto que l’on écoute, jamais on écouter encore et encore. ne doute qu’il s’agit du Concerto pour piano Les notes introductives du Concerto pour en la mineur. piano en la mineur (la – la – sol dièse – mi) sont Pour cette œuvre, Grieg choisit devenues le motif archétypal de Grieg. Nous l’introduction la plus audacieuse qui soit. le retrouvons dans un certain nombre de ses Lorsque retentit le premier accord, l’entièreté compositions, mais c’est dans l’introduction du concerto nous est révélée, comme par du Concerto pour piano qu’il est utilisé avec magie, avec toute l’intensité de ses coloris et le plus d’effet. Grieg couvre plusieurs octaves de ses nuances. L’expérience est semblable avec ce motif, couplant ses reprises avec une à la découverte d’une peinture ou d’une triade mineure (mi – ut – la). Le leitmotiv est sculpture. En un éclair, nous la voyons dans exactement à l’image de Grieg: ni majeur, ni son intégralité, mais des heures ou des jours mineur, ou peut-être les deux à la fois. L’œuvre sont parfois nécessaires pour en découvrir la plus précoce et brillante de Grieg est en

29 fait en mineur – mais avec de nombreux s’en tenir à un tempo unique tout au long thèmes en majeur – presque jusqu’à la fin. du mouvement, créant ainsi une nature Après la majestueuse introduction, Grieg morte musicale. présente le premier thème à l’orchestre de Le dernier mouvement, Allegro moderato manière caractéristique. Les deux premières molto e marcato, est annoncé paisiblement, mesures sont en la mineur, puis ces mesures mais rythmiquement, par la section des vents, sont répétées pour ainsi dire identiquement, avant que le piano fasse son entrée avec son mais transposées en ut majeur. Dans thème principal, un thème de danse enjoué, l’exposition, le thème est présenté avec un halling (danse folklorique traditionnelle concision, en un rythme souple, avant en Norvège rurale); dans le second thème d’être traité librement en longues phrases très romantique, la flûte semble anticiper ondulantes. l’épisode intitulé “Morgenstemning” (Au La tension monte vers la fin du premier matin) dans Peer Gynt. La mélodie flotte mouvement, culminant dans la mise en pendant un moment, puis s’estompe et valeur du matériau par le soliste dans devient aérienne. La réexposition réintroduit la Cadence. Puis, de manière tout à fait le thème en force, et le mouvement inattendue, Grieg fait courir le piano le long s’achemine vers une conclusion grandiose. du bord d’un abîme harmonique. Le saut, Dans une lettre à ses parents, Grieg décrit la chute dans le vide et la réception sont la réaction de Franz Liszt quand celui-ci joua travaillés avec tant de génie qu’il est facile de tout le concerto pour la première fois – c’était comprendre pourquoi cet épisode a déclenché pendant le séjour à Rome de son compositeur des applaudissements spontanés du public au printemps de 1870: lors de la création de l’œuvre. Il y a eu un épisode parfaitement Dans le deuxième mouvement, Adagio, divin que je n’oublierai pas. Vers la ce flux ininterrompu de pensée inspirée fin du Finale, comme vous vous en se poursuit. La beauté, la tranquillité, la souviendrez, le second thème est suspension du temps et de la gravité – tout est répété en un grand fortissimo. Dans en réalité au cœur de cet espace magnifique. les toutes dernières mesures, là où la Grieg avait tellement confiance en la qualité première note du premier triolet du propre du matériau qu’il eut le courage de thème – sol dièse – devient un sol à

30 l’orchestre, tandis que le piano dans Ses amis lui trouvèrent une chambre avec un épisode de gammes extraordinaire piano à Mothgaard dans la localité de parcourt tout le clavier, il s’arrêta Søllerød – à quelque trente kilomètres au soudain, se dressa, quitta le piano, et nord de Copenhague. Là il réussit à mettre d’un pas puissamment théâtral et les sur le métier son projet de concerto, et il bras levés, traversa la grande salle du eut même l’occasion d’en discuter, au cours monastère, rugissant littéralement le de sa composition, avec des confrères amis, thème. Quand il arriva au sol dont il tels Emil Horneman et le célèbre pianiste est question ci-dessus, il agita le bras Edmund Neupert. de manière impérieuse et s’écria: “G, La création du concerto eut lieu en G, nicht Giss! Famos! Das ist so echter avril 1869 dans la grande salle du Casino schwedischer Banco!” Il retourna alors à Copenhague avec Neupert au piano et au piano, répéta toute la phrase, et Holger Simon Paulli dirigeant l’Orchestre conclut. du Théâtre royal. Le pianiste russe Anton Rubinstein assistait aussi au concert, et La composition du concerto Neupert put jouer pour l’occasion sur son Edvard Grieg avait étudié à Leipzig de 1858 grand piano. Le concerto connut un succès à 1862 et y avait entendu Clara Schumann immédiat et il est resté depuis une œuvre jouer le Concerto pour piano en la mineur populaire. de Robert Schumann. Plusieurs années plus tard, Grieg écrivit dans son journal: Musique de scène pour “Peer Gynt” Quand on est jeune, on a un cerveau L’idée de travailler ensemble naquit à Rome comme de la cire – chaque impression y Edvard Grieg alla à Rome pour la première laisse une empreinte définitive. fois en 1865, et il y rencontra, à la Société Lorsque Grieg partit pour Copenhague scandinave de la ville, des artistes et des pendant l’été de 1868 pour rendre visite à hommes de science. la famille de Nina Grieg et présenter leur C’est là qu’il fit la connaissance d’Henrik fille Alexandra qui venait de naître, il avait Ibsen (1828 – 1906) qui fut très vite l’intention aussi de mettre en œuvre son impressionné par le jeune et talentueux idée de composer un concerto pour piano. musicien. Bien que les deux hommes ne se

31 fussent rencontrés que quelques fois, à Rome “Le sujet le plus non-musical qui soit” et plus tard, Ibsen (alors qu’il ne connaissait Grieg lutta pour maîtriser le matériau. Dans pas grand-chose en musique) était convaincu une lettre à son ami Frants Beyer, il écrit: que Grieg était une personnalité capable de Le travail sur Peer Gynt avance très relever les plus importants défis en musique. lentement, et terminer cet automne est impossible. C’est le sujet le plus Une invitation non-musical qui soit, sauf en de rares En janvier 1874, Ibsen qui était à Dresde moments, comme lorsque Solveig écrivit une longue lettre à Grieg l’invitant à chante. Et j’ai écrit quelque chose composer de la musique de scène pour son pour L’antre du roi de la montagne, célèbre poème dramatique Peer Gynt. Le mais je ne supporte pas de l’écouter à directeur du Théâtre Christiania, Ludvig cause de l’odeur de bouse de vache, du Josephson, avait demandé à Ibsen d’adapter Norvégisme x 2 et de l’égocentrisme qui Peer Gynt pour le théâtre. Pour ce travail, il l’imprègnent. lui promit la somme de 400 spesiedaler. Ibsen Il y a en tout vingt-six numéros de répondit à l’enthousiaste Josephson: musique de scène, dont quelques-uns J’arrangerai Peer Gynt et en ferai accompagnent paroles ou chants. Pour un drame musical. La musique sera certaines représentations, Grieg ajoutait d’autres composée cet été. compositions, telles “Brudefølget drager forbi” Dans sa lettre à Grieg, Ibsen lui proposa de (Le Cortège nuptial) faisant partie des pièces partager les honoraires à parts égales. Ibsen pour piano, op. 19, dans l’ de avait de nombreuses idées au sujet de cette Johan Halvorsen (1864 – 1935) (disponible mise en musique, mais il conclut en disant que dans la version à télécharger de cet album). Grieg aurait carte blanche et serait libre de Grieg lui-même choisit huit numéros pour créer décider seul de ce qu’elle devrait être. deux Suites (op. 46 et 55). Les suites ne suivent Grieg commença à travailler sur le projet pas la succession des événements dans le drame, en 1874, mais il n’y mit le point final qu’à alors que les extraits plus nombreux ici le font. l’automne de 1875 et la première eut lieu à Christiania (l’ancien nom d’Oslo) le 24 La musique février 1876. Grieg était enraciné dans la tradition de la

32 musique folklorique norvégienne, mais aussi et Grieg “joue” sur ces cordes subconscientes dans la tradition européenne occidentale qui rappellent à Peer la femme qui – il du fait qu’il grandit dans la seule ville y a bien longtemps – lui avait promis de européenne de Norvège, Bergen, et qu’il reçut l’attendre. sa formation de compositeur en Allemagne. La musique ne représente pas ce que nous Certains critiques prétendent que la voyons sur scène, mais ce qui se joue dans musique de Grieg sonne “faux” dans le l’esprit de Peer Gynt. contexte du drame plus expressif d’Ibsen, Grieg adopte le même principe dans mais nous devons être conscients de ce que “Anitras dans” (La Danse d’Anitra). C’est Grieg entreprit réellement de faire. la plus belle mélodie que Grieg ait écrite, Ibsen voulait qu’il compose de la mais Anitra n’est belle que dans la pensée musique qui “suive” le drame, mais il laissa et aux yeux de Peer Gynt. C’est une fille toute liberté à Grieg. Grieg emprunta du désert peu soignée, aux “formes non une autre voie pour certaines pièces, et traditionnelles”, et elle lui vole le peu de “Morgenstemning” en est un bon exemple: fortune qu’il lui reste – une bague montée cet épisode est romantique et pur comme un d’une émeraude. paysage norvégien. Grieg est, par ailleurs, tout à fait capable Quand commence l’Acte IV, Peer Gynt a d’écrire de la musique dramatique, que ce perdu sa fortune et se trouve abandonné dans soit dans “Stormfull aften på havet” (Soirée le désert nord-africain. Alors, de la fosse, tempétueuse en mer) qui rappelle Wagner résonne la mélodie de “Morgenstemning”. ou dans son chef-d’œuvre, “I Dovregubbens Les notes sont aussi éloignées du drame hall” (Dans l’antre du roi de la montagne) – de cette situation qu’on puisse l’imaginer. la toute première et cependant la meilleure La mélodie est pentatonique, un schéma pièce de rock ’n’ roll écrite en Norvège. bien connu dans la musique folklorique À la fin de sa vie, Grieg espéra avoir le du monde entier. Nous entendons cette temps et la force de revoir entièrement la mélodie qui jaillit des cordes sympathiques musique de Peer Gynt, mais il ne réussit (understrenger) d’un violon Hardanger. pas à le faire. Son ami Johan Halvorsen en Quelques bribes de souvenir résonnent, fournit une version révisée qui fut éditée en quelque sorte, dans la tête de Peer Gynt, par Peters Verlag à Leipzig. Plus tard, la

33 Commission Grieg, dirigée par le professeur philharmonique de Bergen, qui est l’orchestre Finn Benestad, sortit une édition complète de la société musicale “Harmonien”, créé en des œuvres de Grieg (1993), et c’est de 1765, et que Grieg dirigea de 1880 à 1882. cette édition que proviennent les extraits repris sur ce CD. Ils sont exécutés par le © 2018 Erling Dahl propre orchestre de Grieg, l’Orchestre Traduction: Marie-Françoise de Meeûs Yann Bougaran Yann

Victoria Nava Johannes Weisser

34 Scenemusikk til “Peer Gynt” Incidental Music to ‘Peer Gynt’ 5 5. Peer Gynt og seterjentene 5. Peer Gynt and the Herd Girls Tre seterjenter Three Herd Girls Trond i Valfjeldet! Bård og Kåre! Trond of Valfjeld! Baard and Kaare! Troldpak! vil I sove i Armene vore? Listen, trolls! Would you sleep in our arms?

Peer Gynt (taler) Peer Gynt (speaking) Hvem skriger I efter? Who are you shouting for?

Jentene The Girls Efter trold! Efter trold! Trolls! Trolls! Trolls!

Første jente First Girl Trond! far med Lempe! Trond, come lovingly!

Anden jente Second Girl Bård! far med Vold! Come, lusty Baard!

Tredje jente Third Girl I Sælet står alle Koverne tomme! All the beds in our hut are empty!

Første jente First Girl Vold er Lempe. Love is lusty!

Anden jente Second Girl Og Lempe er Vold! And lustiness love!

Tredje jente Third Girl Fattes der Gutter, en leger med Trold! When boys are lacking one plays with trolls!

Alle tre All three Fattes der Gutter, en leger med Trold! When boys are lacking one plays with trolls!

35 Peer Gynt (taler) Peer Gynt (speaking) Hvor er Gutterne da? Where are your boys, then?

Alle tre (skoggerleende) All Three (with a burst of laughter) De kan ikke komme! They can’t come!

Første jente First Girl Min kaldte mig både for Kjærest og Frenke. Mine called me dearest and sweetheart too, Nu er han gift med en halvgammel Enke. Now he is wed to an elderly widow.

Anden jente Second Girl Min mödte en Tatertös nord i Lien. Mine met a gipsy wench up along the hill, Nu traver de To på Fantestien. Now they are both on the road together.

Tredje jente Third Girl Min tog Lösungen vor afdage. Mine made an end of our bastard brat, Nu står hans Hoved og griner på en Stage. Now on a stake his head is grinning.

Alle tre All Three Trond i Valfjeldet! Bård og Kåre! Trond of Valfjeld! Baard and Kaare! Troldpak! vil I sove i Armene vore? Listen, trolls! Would you sleep in our arms?

Peer Gynt (taler) Peer Gynt (speaking) Jeg er tre Hoders Trold, og tre Jenters Gut! I’m a three-headed troll, and the boy for three girls!

(står med et Spring imellem dem) (leaping suddenly amongst them)

Jentene The Girls Er du slig Kar, du? Can you tackle the job?

Peer Gynt (taler) Peer Gynt (speaking) I får dömme tilslut! You shall see if I can!

36 Første jente First Girl Til Sælet! To the hut!

Anden jente Second Girl Til Sælet! To the hut!

Tredje jente Third Girl Vi har Mjød! We have mead!

Peer Gynt (taler) Peer Gynt (speaking) Lad den flomme! Let it flow!

Alle tre All Three Denne Lördagsnat skal ingen Kover stå tomme! This Saturday night not a bed shall be empty!

Anden jente (kysser ham) Second Girl (kissing Peer) Han gnistrer og sprutter som glohede Jernet! He gleams and glitters like glowing iron!

Tredje jente (ligeså) Third Girl (also kissing Peer) Som Barneöje fra Svarteste Tjernet! Like a baby’s eyes from the blackest tarn!

(Peer Gynt danser i flokken.) (Peer Gynt dances with them.)

Jentene (gjör lange Næser mod Bergnuterne, The Girls (making long noses at the mountain- skriger og synger) tops, shouting and singing) Trond i Valfjeldet! Bård og Kåre! Trond of Valfjeld! Baard and Kaare! Troldpak! fik I sove i Armene vore? Listen, trolls! Did you sleep in our arms?

Peer Gynt (taler) Peer Gynt (speaking) Hugen sturen og Tanken kåd, Dismal bodings and wanton thoughts, i Öjet Latter, i Halsen Gråd! Laughter in eyes and tears in throat!

37 6 8. I Dovregubbens hall 8. In the Hall of the Mountain King Kor af Trolde Chorus of Trolls Slagt ham! Kristenmands Sön har dåret Slay him! The Christian’s son has tempted Dovregubbens veneste Mö! The fairest daughter of our King!

En troldunge (taler) A Troll Imp (speaking) Må jeg skjære ham i Fingeren? Let me slash him on the finger!

En anden troldunge (taler) Another Troll Imp (speaking) Må jeg rive ham i Håret? May I tear his hair out for him?

En troldjomfru (taler) A Troll Maiden (speaking) Hu, hei, lad mig bide ham i Låret? Let me bite him on the buttocks!

En troldheks (med en Slev) (taler) A Troll Witch (with a ladle) (speaking) Skal han lages til Sodd og Sö? Let me boil him down for broth!

En anden troldheks (med en Retterkniv) Another Troll Witch (holding a chopper) (taler) (speaking) Skal han steges på Spid eller brunes i Gryde? Shall he toast on a spit or be browned in a kettle?

10 15. Arabisk dans 15. Arabian Dance Pigernes kor Chorus of Girls Profeten er kommen! The Prophet is come! Rör Flöjten og Trommen! Blow flute! Sound drum! Profeten, Herren, den Alting vidende, The Prophet, the Lord, the All-Wise One, til os er han kommen over Sandhavet ridende. To us he has come, riding over the sea of sand. Profeten, Herren, den aldrig fejlende, The Prophet, the Lord, the Infallible, til os er han kommen gjennem Sandhavet To us he has come, sailing across the sea of sand. sejlende. Blow flute! Sound drum! Rör Flöjten og Trommen! The Prophet, the Prophet is come! Profeten, Profeten er kommen!

38 Anitra (danser) Anitra (dances) Hans Ganger er melken, den hvide, His charger is white as milk som strömmer i Paradisets Floder. In the streams of Paradise. Böj Eders Knæ, sænk Eders Hoder, Bend the knee, bow low, hans Öjne er Stjerner, blinkende, blide, His eyes are stars that flash and yet are full of love. intet Jordbarn tåler No earth-born child can face Glansens Glans af de Stjerners Stråler. The flashing of those stars!

Gjennem Örken han kom, Across the desert he came, Guld og Perler sprang frem på hans Bryst, Decked with gold and pearls, hvor han red, blev det lyst, Where he rode it was light; bag ham fór Mørke, Behind him all was dark, Samum og Törke. Drought and the dread simoom. Han, den Herlige, kom, The Mighty One has come; gjennem Örken han kom Over the desert he came, som en Jordsön pyntet. Clothed in mortal shape. Kaba, Kaba står tom. Kaaba is empty now! Han har selv forkyndt det. He himself has told us.

Pigernes kor Chorus of Girls Profeten er kommen... The Prophet is come...

12 17. Peer Gynts serenade 17. Peer Gynt’s Serenade Jeg stængte for mit Paradis I double-locked my Paradise, Og tog dets Nögle med. and took its key with me. Det bar tilhavs for nordlig Bris, The north-wind bore me seaward ho! Mens skjönne Kvinder sit Forlis while lovely women all forlorn På Havsens Rand begræd. wept on the ocean rim.

Mod Syd, mod Syd skar Kjölens Flugt Still southward, southward clove my keel De salte Strömmes Vand. the salt sea-currents through. Hvor Palmen svajer stolt og smukt, Where palms were swaying proud and fair, I Krans om Oceanets Bugt, a garland round the ocean-bight, Jeg stak mit Skib i Brand. I set my ship afire. 39 Ombord jeg steg på Slettens Skib, I climbed aboard the desert ship, Et Skib på fire Ben. a ship on four stout legs. Det skummed under Piskens Hieb, It foamed beneath the lashing whip – Jeg er en flygtig Fugl, o Grib, oh, catch me; I’m a flitting bird; – Jeg kviddrer på en Gren! I’m twittering on a bough!

Anitra, du er Palmens Most, Anitra, thou’rt the palm-tree’s must; Det må jeg sande nu...! that know I now full well...! Ja, selv Angoragjedens Ost Ay, even the Angora goat-milk cheese Er neppe halvt sa söd en Kost, is scarcely half such dainty fare, Anitra, ak, som du! Anitra, ah, as thou!

13 19. Solveigs sang 19. Solveig’s Song Solveig Solveig Kanske vil der gå både Vinter og Vår, Maybe both the winter and spring will pass by, og næste Sommer med, og det hele År, and the next summer too, and the whole of the men engang vil du komme, det ved jeg vist, year; – og jeg skal nok vente, for det lovte jeg sidst. but thou wilt come one day, that know I full well; and I will await thee, as I promised of old.

Gud styrke dig, hvor du i Verden går, God strengthen thee, whereso thou goest in the Gud glæde dig, hvis du for hans Fodskammel står. world! Her skal jeg vente til du kommer igjen; God gladden thee, if at his footstool thou stand! og venter du hist oppe, vi træffes der, min Ven! Here will I await thee till thou comest again; and if thou wait up yonder, then there we’ll meet, my friend!

15 25. Pinsesalme: “Velsignede morgen” 25. Whitsun Hymn: ‘Blessed Day’ Kirkefolk (synger pa Skogsstien) Church Folk (singing on the forest road) Velsignede morgen Oh, blessed day da Gudsrigets Tunger When the Gift of Tongues traf Jorden som flammende Stål. Descended on earth in rays of fire!

40 Fra Jorden mod Borgen O’er all the world nu Arvingen sjunger Creation sings på Gudsrigets Tungemål. The language of the heavenly quire!

16 26. Solveigs vuggevise 26. Solveig’s Cradle Song Solveig Solveig Sov du, dyreste Gutten min! Sleep thou, dearest boy of mine! Jeg skal vugge dig, jeg skal våge. I will cradle thee, I will watch thee –

Gutten har siddet på sin Moders Fang. The boy has been sitting on his mother’s lap. De to har leget hele Livsdagen lang. They two have been playing all the life-day long.

Gutten har hvilet ved sin Moders Bryst The boy has been resting at his mother’s breast hele Livsdagen lang. Gud signe dig, min Lyst! all the life-day long. God’s blessing on my joy!

Gutten har ligget til mit Hjerte tæt The boy has been lying close in to my heart hele Livsdagen lang. Nu er han så træt. all the life-day long. He is weary now.

Sov du, dyreste Gutten min! Sleep thou, dearest boy of mine! Jeg skal vugge dig, jeg skal våge. I will cradle thee, I will watch thee.

Kirkefolk Church Folk Velsignede morgen... Oh, blessed day...

Solveig Solveig Jeg skal vugge dig, jeg skal våge. I will cradle thee, I will watch thee – Sov og dröm, du Gutten min! Sleep and dream, thou boy of mine! (1828 – 1906) William Archer (1856 – 1924) and Charles Archer (1861 – 1941)

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Chandos 24-bit / 96 kHz recording The Chandos policy of being at the forefront of technology is now further advanced by the use of 24-bit / 96 kHz recording. In order to reproduce the original waveform as closely as possible we use 24-bit, as it has a dynamic range that is up to 48 dB greater and up to 256 times the resolution of standard 16-bit recordings. Recording at the 44.1 kHz sample rate, the highest frequencies generated will be around 22 kHz. That is 2 kHz higher than can be heard by the typical human with excellent hearing. However, we use the 96 kHz sample rate, which will translate into the potentially highest frequency of 48 kHz. The theory is that, even though we do not hear it, audio energy exists, and it has an effect on the lower frequencies which we do hear, the higher sample rate thereby reproducing a better sound.

A Hybrid SA-CD is made up of two separate layers, one carries the normal CD information and the other carries the SA-CD information. This hybrid SA-CD can be played on standard CD players, but will only play normal stereo. It can also be played on an SA-CD player reproducing the stereo or multi-channel DSD layer as appropriate.

42 Microphones Thuresson: CM 402 (main sound) Schoeps: MK22 / MK4 / MK6 DPA: 4006 & 4011 Neumann: U89 CM 402 microphones are hand built by the designer, Jörgen Thuresson, in Sweden.

This recording was made with support from

Many thanks also to the Assistant Conductor, Lars-Thomas Holm

Recording producer Brian Pidgeon Sound engineer Ralph Couzens Assistant engineer Gunnar Herleif Nilsen, Norwegian Broadcasting Corporation (NRK) Editor Jonathan Cooper A & R administrator Sue Shortridge Recording venue Grieghallen, Bergen, Norway; 16 and 17 June 2016 (Incidental Music to Peer Gynt) & 22 and 23 June 2017 (Piano Concerto) Front cover ‘Jotunheimen National Park’, photograph © kurkul/istockphoto Back cover Photograph of Edward Gardner © Benjamin Ealovega Photography Design and typesetting Cap & Anchor Design Co. (www.capandanchor.com) Booklet editor Finn S. Gundersen P 2018 Chandos Records Ltd C 2018 Chandos Records Ltd Chandos Records Ltd, Colchester, Essex CO2 8HX, England Country of origin UK

43 CHANDOS DIGITAL CHSA 5190 CHANDOS CHANDOS Edvard Grieg (1843 – 1907) 1-16 Incidental Music to ‘Peer Gynt’, Op. 23 (1874 – 75, revised 1885, 1991 – 92, and 1902)* 54:39 CONCERTO / PIANO GYNT PEER GRIEG:

/ Gardner / BPO / Choirs Soloists for Solo Voices, Chorus, and Orchestra

Håkon Høgemo Hardanger fiddle Bergen Pikekor • Bergen Guttekor • Edvard Grieg Ungdomskor Edvard Grieg Kor • Bergen Philharmonic Choir Håkon Matti Skrede chorus master This recording was made with support from 17-19 Concerto, Op. 16 (1868, revised 1907)† 28:21 in A minor • in a-Moll • en la mineur for Piano and Orchestra TT 83:12

Lise Davidsen soprano (Første seterjente, Anitra)* Ann-Helen Moen soprano (Anden seterjente, Solveig)* Victoria Nava soprano (Tredje seterjente)* Johannes Weisser baritone (Peer Gynt)* Jean-Efflam Bavouzet piano† Bergen Philharmonic Orchestra p 2018 Chandos Records Ltd c

CHSA 5190 Melina Mandozzi leader 2018 Chandos Records Ltd CHSA 5190 Chandos Records Ltd Edward Gardner Colchester • Essex • England

All tracks available This Hybrid SA-CD SA-CD and its logo are in stereo and can be played on any trademarks of Sony. multi-channel standard CD player.