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Original

Peer Gynt. Edvard Grieg. Piano Solo sheet music.

Translation

Peer Gynt. Edvard Grieg. Piano Solo sheet music.

Original

Peer Gynt. Suite No. 1 Op. 46 and No. 2 Op. 55. Composed by Edvard Grieg. 1843-1907. For Piano. Piano. Schott. Softcover. 46 pages. Schott Music #ED9033. Published by Schott Music. HL.49008303. ISBN 3795754720. 9x12 inches. In 1888 Grieg arranged four pieces from his incidental music for Ibsen's verse drama Peer Gynt to form an orchestral suite. Op. 46. This was followed in 1891 by a second orchestral suite. Op. 55. again comprising 4 pieces. Both suites quickly became established in the concert repertoire and contributed significantly to Grieg's international fame. He made piano arrangements of both suites and published them simultaneously with the orchestral suites in 1888 and 1893. Grieg subsequently made further adjustments in the piano pieces. shortening some, for example “Morning,” and expanding others like “The Death of Åse.” Overall, Grieg reduces the dramatic orchestral conception in favour of a more intimate expression and more restrained effects. Suite 1. Morning-mood. The death of Ase. Anitra's dance. In the Hall of the Mountain King. Suite 2. Ingrid's Lament. Arabian Dance. Peer Gynt's Return Home. Solvejgs Song.

Translation

Peer Gynt. Suite No. 1 Op. 46 and No. 2 Op. 55. Composed by Edvard Grieg. 1843-1907. For Piano. Plan. Schott. Softcover. 46 pages. Schott Music. Published by Schott Music. HL.49008303. ISBN 3795754720. 9x12 inches. In 1888 Grieg arranged four pieces from his incidental music for Ibsen's verse drama Peer Gynt to form an orchestral suite. Op. 46. This was followed in 1891 by a second orchestral suite. Op. 55. again comprising 4 pieces. Both suites quickly became established in the concert repertoire and contributed significantly to Grieg's international fame. He made piano arrangements of both suites and published them simultaneously with the orchestral suites in 1888 and 1893. Grieg subsequently made further adjustments in the piano pieces. shortening some, for example “Morning,” and expanding others like “The Death of Åse.” Overall, Grieg reduces the dramatic orchestral conception in favour of a more intimate expression and more restrained effects. Suite 1. Morning-mood. The death of Ase. Anitra's dance. In the Hall of the Mountain King. Suite 2. Ingrid's Lament. Arabian Dance. Peer Gynt's Return Home. Solvejgs Song.