Search - Grieg, Jarvi, Gothenburg Symphony Orchestra :: Peer Gynt / Siguard Jorsalfar

If you thought the familiar Suite version was awesome...

Shota Hanai | Torrance, CA | 01/10/2006

(5 out of 5 stars)

"... think again! You're missing more than half of what Mr. Grieg has to offer of the story of the Norwegian Faust, Peer Gynt. Much of the music in this complete version is not to be ignored. Seriously folks, some of the musical scenes not present in the Suite version will knock your socks off!



Here are some stuff you're missing:



1) The official music that introduces us to the play, known as the overture. It is a lively opener, carefree as the young Peer Gynt, but also has a somber Solveig theme in the middle section, fortelling his ultimate fate. Peer's leitmotif in the beginning will be used again later on, but this time in a minor key, in the Abduction scene (which would become the first movement in the second suite).



2) Two brief pieces written for the Hardanger fiddle to give you a taste of Norway.



3) Singing is involved in some of the familiar movements you hear in the Suite version; Solveig's song, Arabian Dance, and most strikingly, the infamous Hall of the Mountain King, which the trolls violently chant "Kill Him! Kill Him!"



4) The curious Dance of the Mountain King's Daughter. The melody is in a major key, but the sharp fourth (think the intro for "Maria", and "The Simpsons" Theme) discomforts the listeners (in Modal terms, it sounds like Lydian). This sharp fourth and a tonic played together would produce a tritone (or also known as the Devil's interval, and Grieg must have purposely done that to represent the trolls' evil nature).



5) The scene following the troll's capture of Peer Gynt. Musically, it is a more skippy version of the Mountain King theme, in 6/8, reminiscent of Berlioz's "Sabbath Night" from Symphonie Fantastique. There is a whole barrage of brass and percussion in the crumbling scene, when the trolls retreat after hearing church bells from the distance.



6) The turning point of the play - the aging Peer Gynt's entry to a devastated forest. There he witnesses voices (sung in unison) coming from different inanimate objects such as leaves, dews, and winds, telling all his wrongdoings. As each object scorns him, the music becomes higher and more menacing. Later, you hear the voice of Peer Gynt's mother, along with the reprise of her theme.



6) How the play began with D major, it ends with the same key, this time touching, as the old Solveig, Peer Gynt's destined love and symbol of ultimate redemption, sings him a lulluby. The man's mortal, and moral, journey is finally over..."

Excellent

Sungu Okan | Istanbul, Istanbul Turkey | 10/28/2003

(5 out of 5 stars)

"These are the best recordings of both theater works.
And these are the first complete and authentic recordings of both works. Still, Neeme Jarvi is a champion on interpretation of Grieg' s works and he has recorded complete works with orchestra of composer. (Actually, this 6-CD set is available and price of this set is very good, unbeatable: about 47$, and Peer Gynt and Sigurd have recorded in this set.)Other performers are excellent (ex. Speakers). Gothenborg Symphony is the best orchestra (with Stockholm Philharmonic) in Sweden. I like especially, in Peer Gynt: solos of Norwegian Fiddle, In the Hall of Mountain King, The Hunt of Trolls, Song of Solveig. And, Sigurd Jorsalfar (Sigurd the Crusader), like Peer Gynt, was based from Henrik Ibsen's play and this work is shorter than Peer Gynt (35 minutes, but duration of Peer Gynt is 85 minutes)... I think, the best movement of this work is, Homage March. This march tells about Coronation of Sigurd. And Fanfares of 5 horns (in beggining of work), is impressive and portrays there is a majestic Middle Age landscape with castles, woodlands...In other words, this is a must have for any Grieg admirers. Highlt recommended"

Awesome in the best sense of the word

W. Shaffer | 05/01/2006

(5 out of 5 stars)

"Everyone enjoys the suites but hearing the complete music in proper sequence is a powerful experience. The music and the story the play tells compliment each other to a degree the suites only hint at. If anyone believes Grieg was only comfortable writing miniatures (after the piano concerto) give this a hearing. One good example is a truly scary Hall of the Mountain King."