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Peer Gynt
Theatre score & suites by Edvard Grieg
The composer (c. 1879)
Opus	23 (full score) 46 (Suite No. 1) 55 (Suite No. 2)
Text	Peer Gynt (1867), by Henrik Ibsen
Language	Norwegian
Composed	1874 (1874)–1875
Publisher	Peters (1888, Op. 46); 1892, Op. 55)
Premiere
Date	24 February 1876 (1876-02-24) (full score)
Location	Christiania Theatre Christiania, Norway
Conductor	Johan Hennum
Performers	Christiania Theatre Orchestra

Peer Gynt, Opp. 23 (full score), 46 (Suite No. 1), and 55 (Suite No. 2), is incidental music for soloists, mixed choir, and orchestra written from 1874 to 1875 by the Norwegian composer Edvard Grieg.

The full score premiered in Christiania (now Oslo), Norway on 24 Feburary 1876 at the Christiania Theatre; Johan Hennum conducted the in-house orchestra.

History

Composition

• Isben wrote to Grieg on 23 January 1874: "I intend to arrange Peer Gynt ... for the stage. Would you consent to write the music required for this?"
• Isben had written the drama (not originally intended for the stage) in 1867. An earlier attempt by Isben in 1870 to realize a stage performance, but this seems to have failed. By four years later, at the suggestion of Ludvig Josephson, who was the director of the Christiania Theatre, Isben tried anew. Isben, who had first met Grieg in Rome in 1866 but was not close with the composer, thought him the most appropriate man for the job.
• Grieg immediately accepted Isben's offer, as it was financially lucrative and he relished the opportunity to work on such an important and prestigious project.
• The task, however, taxed Grieg: "The task is much larger than I had imagined, and at certain points I am // encountering difficulties that bring me to a standstill", Grieg wrote Josephson on 28 August 1874. And to his friend Frants Beyer on 27 August: "The subject matter is terribly cumbersome, with the exception of a few places such as when Solveig sings". And "it was the most unmusical of all subjects" and weighted on Grieg "like a nightmare", according to two letters to Bjørnstjerne Bjørnson from 1 October 1874 and 2 January 1895. And he confided to August Winding on 5 April that "Peer Gynt ... doesn't interest me.
• Grieg finally completed the score the the summer of 1875, after 18 months of labor; he wrote on 27 July to Isben that the music was ready to send.
• On 12 April 1876, following the premiere, he admitted to Johan Selmer that he had been "forced to abandon his artistic ideals in order to 'gratify the weak orchestra and to highlight crowd-pleasing stage effects. Had I felt that I was standing before my better self, I should naturally have attended the premiere, to have my intentions put into effect. But as things stand I am sure you understand that I have preferred to stay away'".

Premiere

• Premiered in Christiania (now Oslo), Norway on 24 Feburary 1876 at the Christiania Theatre; Johan Hennum conducted the in-house orchestra.
• The title role was taken by Henrik Klausen. Other major roles were taken by Thora Hansson (Solveig) and Sofie Parelius (Åse). Klausen and Parelius in particular were praised by critics for their performances.
• Grieg was not in attendance.

Structure and roles

Peer Gynt is a stage drama in five acts, each of which features original incidental music by Grieg. Although the play includes dozens of roles, only a few are important to Grieg's score, either as vocalists (songs) or actors (dialogue spoken during musical numbers). The principal roles are Peer Gynt (one song), Solveig (three), Åse (none), and Anitra (one).

Roles		Description	Appearances	Voice type	Premiere cast (24 February 1876)
in English	in Norwegian
Peer Gynt		A peasant, son of Åse and John	Act I, Scenes 1–3 Act II, Scenes 1, 3–8 Act III, Scenes 1, 3–4 Act IV, Scenes 1–2, 4–9, 11–13 Act V, Scenes 1–11	Baritone	Henrik Klausen
Åse		A peasant, widow of the late John Gynt	Act I, Scenes 1, 3 Act II, Scene 2 Act III, Scenes 2, 4 Act V, Scene 6 (voice only)	—	Sofie Parelius
Solveig		A peasant, Peer's true love	Act I, Scene 3 Act II, Scenes 2, 8 Act III, Scene 3 Act IV, Scene 10 Act V, Scenes 5, 11	Soprano	Thora Hansson
First herd-girl	Første sæterjente	Amorous dairymaids in the mountains	Act II, Scene 3		Amalie Døvle
Second herd-girl	Annen sæterjente				Camilla Wiese
Third herd-girl	Tredje sæterjente			Mezzo-soprano	Hanna Ehn
The Woman in Green	Den grønnkledde	Troll princess, daughter of the Mountain King	Act II, Scenes 5–6 Act III, Scene 3	—	Lucie Wolf
The Mountain King	Dovregubben	Ruler of the mountain trolls	Act II, Scene 6	—	Johannes Brun
A Voice	Een stemme	The Bøyg	Act II, Scene 7	—	?
Thief	Tyven	—	Act IV, Scene 5	Bass/Baritone	Johannes Brun
Receiver	Heleren	—			Jacob Hveding Asmundsen
Anitra		Daughter of a Bedouin chief, Peer's muse	Act IV, Scenes 6–8	Mezzo-soprano	Rosa Asmundsen Elisabeth Klausen

Theatre score, Op. 23

Henrik Klausen and Sofie Parelius created the roles of Peer and Åse, respectively, for the 24 February 1876 premiere.

Klausen with the three herd-girls (from left: Amalie Døvle, Camilla Wiese, and Hanna Ehn) in Act II, Scene 3.

Grieg's incidental music to Isben's Peer Gynt includes 26 original musical numbers. A twenty-seventh number reprises—as was the composer's preference—Åse's Death (Åses død) during the Act III deathbed melodrama between Peer Gynt and his dying mother. The list below includes these 27 numbers:

Act I

• Prelude (Forspill): At the Wedding (I bryllupsgården). Allegro con brio
• Scene 2: Halling. Allegretto [includes spoken dialogue, Hardanger fiddle played offstage]
• Scene 3: Springar. Allegro vivace [includes dialogue, Hardanger fiddle played offstage]

Act II

• Prelude (Forspill): The Abduction of the Bride (Bruderovet) – Ingrid’s Lament (Ingrids klage). Allegro furioso – Andante ‡
• Scene 3: Peer Gynt and the Herd-girls (Peer Gynt og seterjentene): "Trond i Valfjeldet! Bård og Kåre! ..." ("Trond of Valfjeld! Bård and Kåre! ..."), for two sopranos and mezzo-soprano. Allegreo marcato [includes dialogue]
• Scene 5: Peer Gynt and the Woman in Green (Peer Gynt og Den grønnkledte). Andante [includes dialogue]
• Scene 5: "You can tell great men by the style of their mounts!" ("På ridestellet skal storfolk kjendes!"). Presto
• Scene 6: In the Hall of the Mountain King (I Dovregubbens hall): "Slagt ham! Kristenmands søn ..." ("Kill him! The Christian's son ..."), for mixed choir. Alla marcia e molto marcato [includes dialogue] †
• Scene 6: Dance of the Mountain King's Daughter (Dans av Dovregubbens datter). Allegretto alla burla
• Scene 6: Peer Gynt Chased by the Trolls (Peer Gynt jages av troll): "Tomtegubber! Nisser! Bid ham bag! ..." ("Goblins! Pixies! Bite his bum! ..."), for mixed choir. Presto [includes dialogue]
• Scene 7: Peer Gynt and the Bøyg (Peer Gynt og Bøygen). Andante [includes dialogue]

Act III

• Prelude (Forspill): Åse's Death (Åses død). Andante doloroso †
• Scene 4: Åse's Death (Åses død) [reprised, includes dialogue]

Act IV

• Prelude (Forspill): Morning Mood (Morgenstemning). Allegretto pastorale  †
• Scene 5: The Thief and the Receiver (Tyven og heleren): "Lanserens tunger ..." ("The tongues of the lances ..."), for tenor and baritone. Presto
• Scene 6: Arabian Dance (Arabisk dans): "Profeten er kommen! ..." ("The prophet has come! ..."), for mezzo-soprano and mixed choir. Allegretto vivace ‡
• Scene 6: Anitra's Dance (Anitras dans). Tempo di Mazurka †
• Scene 7: Peer Gynt's Serenade (Peer Gynts serenade): "Jeg stængte for mit Paradis ..." ("I locked up my Paradise ..."), for baritone. Poco Andante – Allegretto
• Scene 8: Peer Gynt and Anitra (Peer Gynt og Anitra). Allegro vivace [includes dialogue]
• Scene 10: Solveig's Song (Solveigs sang): "Kanske vil der gå både vinter og vår ..." ("Perhaps both winter and spring will pass ..."), for soprano. Un poco Andante ‡ ±
• Scene 11: Peer Gynt at the Statue of Memnon (Peer Gynt ved Memnonstøtten). Largo [includes dialogue]

Act V

• Prelude (Forspill): Peer Gynt's Homecoming (Peer Gynts hjemfart) – Stormy Evening on the Sea (Stormfull aften på havet). Allegreo agitato ‡
• Between Scenes 1 and 2: The Shipwreck (Skipsforliset). Allegro moderato
• Scene 5: Solveig Sings in the Hut (Solveig synger i hytten): "Nu er her stellet til Pinsekveld ..." ("Now everything is ready for Whitsun ..."), for soprano [without tempo marking]
• Scene 6: Night Scene (Nattscene): "Vi er tanker, du skulde tænkt os ..." ("We are thoughts, you should have thought us ..."), for female choir. Adagio – Un poco Allegro [includes dialogue]
• Scene 10: Whitsun Hymn (Pinsesalme): "Velsignede morgen ..." ("Oh blessed morning ..."), for mixed choir [without tempo marking]
• Scene 10: Solveig's Cradle Song (Solveigs vuggevise): "Sov du, dyreste gutten min! ..." ("Sleep, my dearest boy! ..."), for soprano. Lento ±

† = Later incorporated into Suite No. 1, Op. 46
‡ = Later incorporated into Suite No. 2, Op. 55
± = Later incorporated into the Six Songs with Orchestra, EG 177/1–2

Some productions also include the Norwegian Bridal Procession (Brudefølget drar forbi; Op. 19/2) as a twenty-eighth number, which is not original to Peer Gynt. (Originally for solo piano, Grieg added this piece in 1886 to subsequent productions of the play, although he outsourced the orchestration to the Danish composers Georg Bohlmann and Robert Henriques; in 1908, the Norwegian composer Johan Halvorsen made his own arrangement, which supplanted the Bohlmann–Henriques version.)

• Scene 2: Norwegian Bridal Procession (Brudefølget drar forbi), Op. 19/2

Excerpted suites, Opp. 46 and 55

In 1888, the Leipzig-based firm C. F. Peters published Grieg's Peer Gynt Suite No. 1. It includes the following four numbers:

1. Morning Mood (Morgenstemning). Allegretto pastorale (E major)
2. The Death of Åse (Åses død). Andante doloroso (B minor)
3. Anitra's Dance (Anitras dans). Tempo di Mazurka (A minor)
4. In the Hall of the Mountain King (I Dovregubbens hall). Alla marcia e molto marcato (B minor)

Four years later, in 1892, Peters published Grieg's Peer Gynt Suite No. 2. It, too, includes four numbers:

1. The Abduction of the Bride (Bruderovet). Ingrid's Lament (Ingrids klage). Allegro furioso – Andante (G minor)
2. Arabian Dance (Arabisk dans). Allegretto vivace (C major)
3. Peer Gynt's Homecoming (Stormy Evening on the Sea) (Peer Gynts hjemfart (Stormfull aften på havet)). Allegro agitato (F-sharp minor)
4. Solveig's Song (Solveigs sang). Andante – Allegretto tranquillamente (A minor)

Synopsis

In Ibsen's "Peer Gynt", the village community banishes the titular character for the crime of bridal abduction. As a result, Peer takes refuge in the neighboring mountains.

Act I opens with Peer, a young man of twenty, arguing with his mother, Åse; he has returned from an reindeer hunt without his gun, clothed in rags, and without venison,

• Act I

Peer Gynt is the son of the once-highly regarded Jon Gynt, who spent all his money on feasting and living lavishly and had to leave his farm to become a wandering salesman, leaving his wife and son behind in debt. Åse, his wife, wished to raise her son to restore the lost fortune of his father, but Peer is soon considered to be useless, a poet and a braggart. As the play opens, Peer gives an account of a reindeer hunt that went awry. His mother taunts him for having spoiled his chances with Ingrid, the daughter of the richest farmer. Peer leaves for Ingrid's wedding, because he may still get a chance with the bride. His mother follows quickly to stop him from shaming himself.

At the wedding, the other guests taunt and laugh at Peer. Peer meets a family of Haugean newcomers from another valley. He instantly notices the elder daughter, Solveig, and asks her to dance. She refuses because her father would disapprove, and because Peer's reputation has preceded him. She leaves, and Peer starts drinking. When he hears the bride has locked herself in, he seizes the opportunity, runs away with her, and spends the night with her in the mountains.

• Act II

Peer is banished for bride napping. As he wanders the mountains, Peer meets three amorous dairymaids who are waiting to be courted by trolls. He becomes highly intoxicated with them and spends the next day alone suffering from a hangover. He runs head-first into a rock, and the rest of the second act probably takes place in his dreams. He next comes across a woman clad in green, who claims to be the daughter of the troll mountain king. Together they ride into the mountain hall, and the troll king gives Peer the opportunity to become a troll if Peer would marry his daughter. Peer agrees to a number of conditions, but declines in the end. He is then confronted with the fact that the green-clad woman has become pregnant. Peer denies this; he claims not to have touched her, but the wise troll king replies that he begat the child in his head. He then meets the Bøyg. Asked the question "Who are you?" the Bøyg answers, "Myself". In time, Peer also takes the Bøyg's important saying as a motto: "Go around". For the rest of his life he "beats around the bush" instead of facing himself or the truth. Upon awaking, Peer is confronted by Helga, Solveig's sister, who gives him food and regards from her sister. Peer gives the girl a silver button for Solveig to keep and asks that she not forget him.

• Act III

As an outlaw, Peer struggles to build his own cottage in the hills. Solveig turns up and insists on living with him. She has made her choice, she says, and there will be no return for her. Peer is delighted and welcomes her, but as she enters the cabin, an old-looking woman in green garments appears with a limping boy at her side. This is the green-clad woman from the mountain hall, and her half-human brat is the child begotten by Peer from his mind during his stay there. She has cursed Peer by forcing him to remember her and all his previous sins, when facing Solveig. Peer hears a ghostly voice saying "Go roundabout, Peer", and decides to leave. He tells Solveig he has something heavy to fetch. He returns in time for his mother's death, and then sets off overseas.

• Act IV

Peer is away for many years, taking part in various occupations and playing various roles, including that of a businessman engaged in enterprises on the coast of Morocco. Here, he explains his view of life, and we learn that he is a businessman taking part in unethical transactions, including sending heathen images to China and trading slaves. In his defense, he points out that he has also sent missionaries to China, and he treated his slaves well. His companions rob him, after he decides to support the Turks in suppressing a Greek revolt, and leave him alone on the shore. He then finds some stolen Bedouin gear, and, in these clothes, he is hailed as a prophet by a local tribe. He tries to seduce Anitra, the chieftain's daughter, but she steals his money and rings, gets away, and leaves him.

Then he decides to become a historian and travels to Egypt. He wanders through the desert, passing the Colossi of Memnon and the Sphinx. As he addresses the Sphinx, believing it to be the Bøyg, he encounters the keeper of the local madhouse, himself insane, who regards Peer as the bringer of supreme wisdom. Peer comes to the madhouse and understands that all of the patients live in their own worlds, being themselves to such a degree that no one cares for anyone else. In his youth, Peer had dreamt of becoming an emperor. In this place, he is finally hailed as one — the emperor of the "self". Peer despairs and calls for the "Keeper of all fools", i.e., God.

• Act V

Finally, on his way home as an old man, he is shipwrecked. Among those on board, he meets the Strange Passenger, who wants to make use of Peer's corpse to find out where dreams have their origin. This passenger scares Peer out of his wits. Peer lands on shore bereft of all of his possessions, a pitiful and grumpy old man. Peer attends a peasant funeral and an auction, where he offers for sale everything from his earlier life. The auction takes place at the very farm where the wedding once was held. Peer stumbles along and is confronted with all that he did not do, his unsung songs, his unmade works, his unwept tears, and his questions that were never asked. His mother comes back and claims that her deathbed went awry: he did not lead her to heaven with his ramblings.

Peer is confronted by the Button-molder, who maintains that Peer's soul must be melted down with other faulty goods unless he can explain when and where in life he has been "himself". Peer protests. He has been only that, and nothing else. Then he meets the troll king, who states that Peer has been a troll, not a man, most of his life. The Button-molder says that he has to come up with something if he is not to be melted down. Peer looks for a priest to whom to confess his sins, and a character named "The Lean One" (who is the Devil) turns up. The Lean One believes Peer cannot be counted a real sinner who can be sent to Hell; he has committed no grave sin. Peer despairs in the end, understanding that his life is forfeit; he is nothing. But at the same moment, Solveig starts to sing—the cabin Peer built is close at hand, but he dares not enter. The Bøyg in Peer tells him "go around". The Button-molder shows up and demands a list of sins, but Peer has none to give, unless Solveig can vouch for him. Then Peer breaks through to Solveig, asking her to forgive his sins. But she answers: "You have not sinned at all, my dearest boy."

Peer does not understand—he believes himself lost. Then he asks her: "Where has Peer Gynt been since we last met?" She answers: "In my faith, in my hope, in my love." Peer screams, calls for his mother, and hides himself in her Solveig's lap. Solveig sings her lullaby for him, and he presumably dies in this last scene of the play, although there are neither stage directions nor dialogue to indicate that he actually does.

Instrumentation

The incidental music to Peer Gynt is scored for the following instruments and voices, organized by family (vocalists, woodwinds, brass, percussion, and strings):

• 3 sopranos, 2 mezzo-sopranos, baritone, 2 basses, and mixed choir (SATB)
• 3 flutes (two doubling piccolo), 2 oboe, 2 clarinets (in A; in B♭), and 2 bassoons
• 4 horns (in F; in E), 2 trumpets (in F; in E), 3 tenor trombones (one doubling bass trombone), and tuba
• Timpani, bass drum, snare drum, cymbals, triangle, tam-tam, xylophone, "tiefe glocken" (tubular bells), piano (ad lib) and organ
• Violins (I and II), violas, cellos, double basses, harp, and Hardanger fiddle

Suite No. 1 is scored for piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, cymbals, bass drum, triangle, and strings (first and second violins, violas, cellos, and basses). Suite No. 2 retains its predecessor's scoring, albeit with the addition of harp, snare drum, and tambourine.

Music

Morning Mood

Measures 1–4 of Morning Mood

Åse's Death

Measures 1–8 of Åse's Death

Anitra's Dance

Measures 69–76 of Anitra's Dance

In the Hall of the Mountain King

Measures 2–5 of In the Hall of the Mountain King

Arabian Dance (orchestral version)

Anitra's Song (Measures 46–53) of the Arabian Dance King

Solveig's Song (orchestral version)

Measures 9–13 of Solveig's Song

Discography

Really helpful review from NYT in 1991 comparing the recordings

Incidental music (complete)

Recordings of the *complete* incidental music:

• Appears Per Dreier was first (indeed, the disc refers to the performance as the "premier recording of the complete music for Ibsen's dramatic poem", although it excludes spoken dialogue. A few notes:

1. Has "Peer Gynt and the Dairymaids" sung is not by three female soloists but rather by female choir
2. Omits the duplication of "Åse's Death" [first as a prelude] that Ruud–BIS and Engeset–Naxos include
3. Calls "Peer Gynt at the Statue of Memnon" instead "Deep in the Pine Forest" (same music but in a different spot in the performance [Salonen–Sony Classical do the same])
4. Most curiously, includes two additional numbers that I cannot match to Ruud–BIS and Engeset–Naxos: in Act IV "Melodrama" and in Act V "Day Scene"
5. Most inexplicably, includes as an interpolation between "In the Hall of the Mountain King" and "The Mountain King's Daughter" The Norwegian Dances Nos. 1–3!

• Ruud–BIS is a "concert version by Svein Sturla Hungnes". A few notes:

1. Includes the most spoken dialogue, indeed many, many more dialogue tracks than Engeset–Naxos
2. Includes the duplication of "Åse's Death" [first as a prelude], along with Engeset–Naxos
3. All music tracks seems to match up exactly 1-to-1 with Engeset–Naxos

No.	Conductor	Orchestra	Choir	Peer Gynt	Solveig	Anitra	Rec.	Time	Recording venue	Label	Ref.
1	Per Dreier	London Symphony Orchestra	Oslo Philharmonic Chorus	Asbjørn Hansli	Toril Carlsen	Vessa Hanssen	1979	88:46	All Saints Church, Tooting	Unicorn-Kanchana
2	Neeme Järvi	Gothenburg Symphony Orchestra and Chorus		Urban Malmberg	Barbara Bonney	Marianne Eklöf	1987	?	Gothenburg Concert Hall	Deutsche Grammophon
3	Ole Kristian Ruud	Bergen Philharmonic Orchestra	KorVest	Håkan Hagegård	Marita Solberg	Ingebjørg Kosmo	2003	112:42	Grieg Hall	BIS
4	Guillaume Tourniaire	L'Orchestre de la Suisse Romande	Le Motet de Genève	Dietrich Henschel	Inger Dam Jensen	Sophie Koch	2005	121:42	Victoria Hall	æon
5	Bjarte Engeset	Malmö Symphony Orchestra	Malmö Chamber Choir	Yngve Søberg	Isa Katharina Gericke	Itziar Galdos	2007	99:55	Malmö Concert Hall	Naxos

Incidental music (excerpts)

Recordings of *excerpts* from the incidental music:

No.	Conductor	Orchestra	Choir	Peer Gynt	Solveig	Anitra	Rec.	Time	Recording venue	Label	Ref.
1	Sir Thomas Beecham	Royal Philharmonic Orchestra	Beecham Choral Society	—	Ilse Hollweg	—	1956	41:37	Abbey Road Studios	EMI
.	Arthur Fiedler	Boston Pops Orchestra	—	—	Eileen Farrell	—	c. 1957	?	?	RCA Victor Red Seal
2	Øivin Fjeldstad	London Symphony Orchestra	—	—	—	—	1958	39:23	Kingsway Hall	Decca
3	Václav Neumann	Gewandhausorchester Leipzig	—	—	Adele Stolte	—	1967	?	?, Leipzig	Philips
4	Sir John Barbirolli	Halle Orchestra	Ambrosian Singers	—	Sheila Armstrong	Patricia Clark	1968	48:31	Abbey Road Studios	EMI Eminence
5	Herbert Blomstedt	Staatskapelle Dresden	Rundfunkchor Leipzig	—	Taru Valjakka	Edith Thallaug	1977	47:11	Lukaskirche, Dresden	HMV / EMI
6	Walter Weller	Royal Philharmonic Orchestra	—	—	—	—	1979	?	?	Decca
7	Sir Neville Marriner	Academy of St Martin in the Fields	Ambrosian Singers	—	Lucia Popp		1983	47:40	?	EMI Classics
8	Edo de Waart	San Francisco Symphony and Chorus		—	Elly Ameling		1983	45:02	?	Philips Classics
9	Christoph Eschenbach	Bamberg Symphony Orchestra and Chorus		—	Helen Donath		?	?	?	Eurodisc
10	Esa-Pekka Salonen	Oslo Philharmonic and Chorus		—	Barbara Hendricks		1987	63:20	Oslo Concert Hall	Sony Classical
11	Kurt Masur	Gewandhausorchester Leipzig	Rundfunkchor Leipzig Gewandhaus Kinderchor	—	Edith Wiens	Bettina Denner	1988	?	Gewandhaus	Philips
12	Herbert Blomstedt	San Francisco Symphony and Chorus		Urban Malmberg	MariAnne Häggander	Wendy White	1988	73:09	Davies Symphony Hall	Decca
13	Sir Jeffrey Tate	Berlin Philharmonic	Ernst Senff Chor Berlin	Petteri Salomaa	Sylvia McNair		1990	68:02	Berlin Philharmonie	EMI Classics
14	Dmitri Kitayenko	Bergen Philharmonic Orchestra	—	—	Linda Øvrebø	—	1994	46:12	Grieg Hall	Troldhaugen
15	Paavo Järvi	Estonian National Symphony Orchestra	Ellerhein Girls' Choir Estonian National Male Choir	Peter Mattei	Camilla Tilling	Charlotte Hellekant	?	63:00	?	Virgin Classics
16	Edward Gardner	Bergen Philharmonic Orchestra and Choir		Johannes Weisser	Ann-Helen Moen	Lise Davidsen	2016	54:39	Grieg Hall	Chandos
	Yuri Temirkanov	Royal Philharmonic Orchestra	London Symphony Chorus	—	Inger Dam-Jensen		?	55:50	?	RCA Red Seal

Both suites

Recordings of the suites:

No.	Conductor	Orchestra	Rec.	Op. 46	Op. 55	Recording venue	Label	Ref.
.	Basil Cameron	London Philharmonic Orchestra	c. 1949	?	?	?	London
.	Willem van Otterloo	Residentie Orchestra	c. 1951	?	?	?	Philips
.	Odd Grüner-Hegge	Oslo Philharmonic Orchestra	1959	?	?	[Unknown venue], Oslo	RCA Camden
.	Wilhelm Brückner-Rüggeberg	Hamburg State Opera Orchestra	c. 1959	?	?	?	Pye Golden Guinea
.	Kurt Graunke	Graunke Symphony Orchestra	c. 1969	?	?	?	Disneyland
.	Richard Kraus	Bamberg Symphony Orchestra	1965	14:38	16:26	?	Deutsche Grammophon
.	Leonard Bernstein	New York Philharmonic	1967	14:53	17:21	Avery Fisher Hall	Sony Classical
.	Gennady Rozhdestvensky	Moscow Radio Symphony Orchestra	1967	16:17	17:13	?	Melodiya
.	Herbert von Karajan	Berlin Philharmonic	1971	14:45	18:43	Jesus-Christus-Kirche Dahlem	Deutsche Grammophon
.	Paavo Berglund	Bournemouth Symphony Orchestra	1973	15:42	17:16	Southampton Guildhall	EMI Classics
.	Maurice Abravanel	Utah Symphony Orchestra	1975	12:28	15:55	?, Salt Lake City	VoxBox
.	Eugene Ormandy	Philadelphia Orchestra	1975	13:32	17:33	vvvv	RCA Victor Silver Seal
.	Raymond Leppard	English Chamber Orchestra	1975	14:44	16:33	[unknown venue], London	Philips Classics
.	Václav Smetáček	Prague Symphony Orchestra	1976	16:42	15:38	Smetana Hall	Supraphon
.	Henryk Czyż	Łódź Philharmonic	c. 1977	?	?	?	Polskie Nagrania Muza
.	Herbert von Karajan	Berlin Philharmonic	1982	14:14	18:47	Berlin Philharmonie	Deutsche Grammophon
.	Libor Pešek	Slovak Philharmonic Orchestra	1987	14:27	16:49	Czechoslovak Radio, Pilsen	Aurophon Classics
.	Herbert Blomstedt	San Francisco Symphony	1988	15:32	17:04	Davies Symphony Hall	Decca
.	Stephen Gunzenhauser	CSSR State Philharmonic Orchestra	1988	15:00	15:45	Concert Hall, Košice	Naxos
.	Vernon Handley	Ulster Orchestra	1989	14:32	16:39	Ulster Hall	Chandos
.	Neeme Järvi	Gothenburg Symphony Orchestra	1992	14:44	16:18	Gothenburg Concert Hall	Deutsche Grammophon
.	Jerzy Maksymiuk	BBC Scottish Symphony Orchestra	1993	15:12	16:40	Broadcasting House, Glasglow	Naxos
.	Mark Ermler	Royal Philharmonic Orchestra	1993	15:30	17:24	All Saints Church, Petersham, Surrey	Brilliant Classics
.	Sir Neville Marriner	Academy of St Martin in the Fields	1994	?	?	Henry Wood Hall, London	Hänssler Classic
.	Ari Rasilainen	Norwegian Radio Orchestra	1996	16:13	18:18	NKR Studio, Oslo	Finlandia
.	Sakari Oramo	City of Birmingham Symphony Orchestra	2000	15:48	17:38	Symphony Hall, Birmingham	Erato
.	Ole Kristian Ruud	Bergen Philharmonic Orchestra	2005	15:34	17:15	Grieg Hall	BIS
.	Bjarte Engeset	Malmö Symphony Orchestra	2006	14:39	17:09	Malmö Concert Hall	Naxos
.	Eivind Aadland	WDR Symphony Orchestra Cologne	?	?	?	Kölner Philharmonie	Audite
.	Tadeusz Wojciechowski	Polish Radio Symphony Orchestra Krakow	1994	14:01	15:46	Sala Zwiazkowiec	Conifer Classics
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.	[[]]	[[]]	yyyy	tttt	tttt	vvvv	llll
.	[[]]	[[]]	yyyy	tttt	tttt	vvvv	llll
.	Bohumír Liška	Pilsen Radio Orchestra}}	yyyy	tttt	tttt	vvvv	llll
.	Otmar Suitner	Bamberg Symphony Orchestra	yyyy	15:59	15:07	vvvv	Deutsche Grammophon

Fictitious:

• Peter Stern / Amsterdam Symphony Orchestra
• Alfred Gehardt / Royal Promenade Orchestra
• Alberto Lizzio / Philharmonica Slavonica
• Herbert Fleischmann / Philharmonic Ensemble Pro Musica
• Sven Bengtson / London Festival Orchestra

In addition, several notable conductors made incomplete recordings of the two suites, including: Herbert von Karajan with the Vienna Philharmonic in 1961 (Decca, 417 722–2); Sir John Pritchard with the London Philharmonic Orchestra c. 1971 (His Master's Voice, 1C 027–05 679); and Leonard Slatkin with the St. Louis Symphony Orchestra in 1979 (Telarc, CD–80048).

|- missing Solveig's Song, Peer Gynt's Homecoming, and Arabian Dance !scope="row"|. |Stanley Black |London Symphony Orchestra |yyyy |tttt |tttt |vvvv |Decca Records

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Notes, references, and sources

Notes

References

Sources

Books

• Ibsen, Henrik (1936) [1867]. Peer Gynt: A Dramatic Poem. Translated by Sharp, R. [Robert] Farquharson. Illustrated by Rackham, Arthur. Philadelphia: J. B. Lippincott.

Liner notes

• van Heesch, Stephanie (2005). Edvard Grieg: Peer Gynt (PDF) (booklet). Translated by Barnett, Andrew. Ole Kristian Ruud & Bergen Philharmonic Orchestra. BIS. SACD–1441/42.

Newspapers (by date)

• [in "Peer Gynt"]. Morgenbladet (in Norwegian). No. 54B. 24 February 1876. p. 1 https://www.nb.no/items/8b25692b24061e50ed029e6f072b1353?page=0. {{cite news}}: |trans-title= requires |title= or |script-title= (help); |url= missing title (help)

Johannes Flintoe - The Waterfall Vøringsfossen - NG.M.03271 - National Museum of Art, Architecture and Design

On the Plain (Erik Werenskiold) - Gothenburg Museum of Art - F 155

External links

• Peer Gynt, Op. 23: Scores at the International Music Score Library Project
• Peer Gynt Suite No. 1, Op. 46: Scores at the International Music Score Library Project
• Peer Gynt Suite No. 2, Op. 55: Scores at the International Music Score Library Project