"life in Norway. In 1864, he left Christiania and went to Sorrento in Italy in self-imposed exile. He didn't return to his native land for the next 27 years, and when he returned to it he was a noted, but controversial, playwright. His next play, ""Brand"" (1865), brought him the critical acclaim he sought, along with a measure of financial success, as did the following play, ""Peer Gynt"" (1867), to which Edvard Grieg famously composed incidental music and songs. Although Ibsen read excerpts of the Danish philosopher Søren Kierkegaard and traces of the latter's influence are evident in ""Brand"", it"
"Peer Gynt Peer Gynt (; ) is a five-act play in verse by the Norwegian dramatist Henrik Ibsen published in 1867. Written in Danish—the common written language of Denmark and Norway in Ibsen's lifetime—it is one of the most widely performed Norwegian plays. Ibsen believed ""Per Gynt"", the Norwegian fairy tale on which the play is loosely based, to be rooted in fact, and several of the characters are modelled after Ibsen's own family, notably his parents Knud Ibsen and Marichen Altenburg. He was also generally inspired by Peter Christen Asbjørnsen's collection of Norwegian fairy tales, published in 1845 (""Huldre-Eventyr"
"to give the melody of the second theme in the first movement to a solo trumpet). In 1874–76, Grieg composed incidental music for the premiere of Henrik Ibsen's play ""Peer Gynt"", at the request of the author. Grieg had close ties with the Bergen Philharmonic Orchestra (Harmonien), and later became Music Director of the orchestra from 1880 to 1882. In 1888, Grieg met Tchaikovsky in Leipzig. Grieg was struck by the greatness of Tchaikovsky. Tchaikovsky thought very highly of Grieg's music, praising its beauty, originality and warmth. Grieg was awarded two honorary doctorates, first by the University of Cambridge in"
"played during scene changes, or at the end of an act, immediately preceding an interlude, as was customary with several nineteenth-century plays. It may also be required in plays that have musicians performing on-stage. The use of incidental music dates back at least as far as Greek drama. A number of classical composers have written incidental music for various plays, with the more famous examples including Wolfgang Amadeus Mozart's ""Thamos, King of Egypt"" music, Ludwig van Beethoven's ""Egmont"" music, Carl Maria von Weber's ""Preciosa"" music, Franz Schubert's ""Rosamunde"" music, Felix Mendelssohn's ""A Midsummer Night's Dream"" music, Robert Schumann's ""Manfred"" music,"
"a melody for the first violins; the work ends with a recapitulation of the movement's first section. Incidental music, Op. 22: Sigurd Jorsalfar (Grieg) Sigurd Jorsalfar is a work of incidental music composed by Edvard Grieg for a play by Bjørnstjerne Bjørnson celebrating King Sigurd I of Norway. The incidental music, published as Op. 22, was first performed in Christiania on 10 April 1872. An orchestral suite compiled by Grieg from the main work and published as Op. 56 was premiered in Oslo on 5 November 1892 and revised by the composer the same year. The full work consists of"
"contain songs with full band arrangements, along with his invented instruments. He has been featured in several music documentaries including Adam Clitheroe's ""One Man In The Band"" (2008) and Gabriel Shalom's ""Instrumental"" (2005). In 2013, Truax composed a new original score for Henrik Ibsen's play Peer Gynt, which was staged at the Theater Dortmund, Germany during its 2013/14 season, with music performed live by Thomas in an open metal container suspended above a stage of water. Thomas Truax Thomas Truax ( ) is an American songwriter, performer, and inventor of experimental musical instruments. Truax first came to prominence as a"
"influential short films in film history and described as ""among the most ingenious pairings of music and image in the history of the festival."" Egmont (Beethoven) Egmont, Op. 84 by Ludwig van Beethoven, is a set of incidental music pieces for the 1787 play of the same name by Johann Wolfgang von Goethe. It consists of an overture followed by a sequence of nine pieces for soprano, male narrator, and full symphony orchestra. (The male narrator is optional; he is not used in the play and does not appear in all recordings of the complete incidental music.) Beethoven wrote it"
"The Wasps (Vaughan Williams) The Wasps is incidental music composed by the British composer Ralph Vaughan Williams in 1909. It was written for a production of Aristophanes' ""The Wasps"" at Trinity College, Cambridge, and was Vaughan Williams' first of only three forays into incidental music. A later performance of the work was one of only a small number of performances conducted by Williams that was committed to a recording. It was scored for baritone solo voices, a chorus of tenors and baritones (in two parts each), and orchestra. The complete incidental music is lengthy (about 1 hour and 45 minutes)"
"Peer Gynt Prize The Peer Gynt Prize or the Peer Gynt Award (""Årets Peer Gynt"" or ""Per Gynt-prisen"") is a private Norwegian prize presented annually by the private commercial company ""Peer Gynt AS"" during the Peer Gynt Festival, also organised by the same company. The Peer Gynt Prize is named after the main character in ""Peer Gynt"" (1867), a five-act play in verse by Norwegian dramatist Henrik Ibsen. The prize is awarded to people or institutions who has marked themselves in a positive way nationally and internationally. However, the prize has received criticism for misrepresenting the Peer Gynt character, who"
"Harald Sæverud Harald Sigurd Johan Sæverud (17 April 1897 – 27 March 1992) was a Norwegian composer. He is most known for his music to Henrik Ibsen's ""Peer Gynt"", ""Rondo Amoroso"", and the ""Ballad of Revolt"" (). Sæverud wrote nine symphonies and a large number of pieces for solo piano. He was a frequent guest conductor of his own works with the Bergen Philharmonic Orchestra. Harald Sæverud was born in Bergen and received his basic music education at the local conservatory where his teacher was the Leipzig-educated composer Borghild Holmsen. During his conservatory years he began working on what would"
"background score; indeed, many plays have no incidental music whatsoever. Some early examples of what were later called incidental music are also described as semi-operas, quasi-operas, masques, vaudevilles and melodramas. The genre of incidental music does not extend to pieces designed for concert performance, such as overtures named after a play, for example, Beethoven's ""Coriolan Overture"" (written for Heinrich Joseph von Collin's tragedy), or Tchaikovsky's ""Romeo and Juliet"" fantasy-overture. Modern composers of incidental music include Pierre Boulez, Lorenzo Ferrero, Irmin Schmidt, Ilona Sekacz, John White, and Iannis Xenakis. An ""overture"" is incidental music that is played usually at the beginning"
"the stage language. Ibsen's famous play ""Peer Gynt"" premiered here in 1876, as well as a large number of important Norwegian productions, including productions of Norway's other national bard at the time, Bjørnstjerne Bjørnson. During the continued run of ""Peer Gynt"" a fire started on the performing night of January 15, 1877 that heavily damaged the theatre, but luckily the theatre could later be repaired. Christiania Theatre was during its years in use seen as Norway's national stage for drama until the Nationaltheatret was opened on 1 September 1899, with Bjorn Bjornson as theatre director and a large part of"
"and Comparative Drama at the University of Bristol. His books ""Ibsen’s Dramatic Method"" (1953), in which he notably outlines the hidden visual suggestions and parallel characterisations used by the playwright, and ""Ibsen: A Critical Study"" (1973), are still counted as standard works. He has been celebrated for capturing the poetry, humour and wisdom of ""Ibsen's Poems"" (1871) and verse drama ""Peer Gynt"" (1867); for his remarkable translations of the ""Epic Brand"", a long epic poem unfinished from the playwright’s hand, and also the dramatic 1866 play ""Brand"". He also provided composer and producer Kjell-Ole Haune with a translation of Ibsen's"
"Aaron Krister Johnson collaborated with 60x60 as a music director or ""macro-composer"" to create the 60x60 UnTwelve mix contain 60 one-minute works with a theme of microtonality. He has worked in the area of composition of incidental music and sound design for theatre. His score for ""Peer Gynt"" was nominated for a 2005 Joseph Jefferson award for outstanding original incidental music for a play. Other theatre music and sound design credits include ""Madwoman of Chaillot"" and the Jeff-nominated ""Natural Affection"" for the Artistic Home, and Lakeside Shakespeare of Michigan's productions of ""Twelfth Night"" and ""Julius Caesar"". Johnson originally received his"
"soprano, horn and piano 1998 - Lopes-Graça Prize from the City of Tomar STAGE WORKS 2001 incidental music for the Ibsen's play ""Peer Gynt"" Opus: 38 Duration (minutes) 110 1(picc).1(ca).1(bcl).1 - hn - perc(2) - pno - 2 vln.vla.vlc.db (with C extension) Commission: The New Teatro Aberto First Performance: 24.2.02, Teatro Aberto, Lisbon: Teatro Aberto's Ensemble, Joao Paulo Santos 2002 scenic cantata for two singers, speaker, children's choir and orchestra Opus: 41 Duration (minutes) 50 Instrumentation: 2(2=picc).2.2.2. - 2hn - timp - strings (some basses with C extension) Singers: Fox Rose (soprano), Wolf Diogo (bass), speaker, children's choir Text: Antonio"
"Egmont (Beethoven) Egmont, Op. 84 by Ludwig van Beethoven, is a set of incidental music pieces for the 1787 play of the same name by Johann Wolfgang von Goethe. It consists of an overture followed by a sequence of nine pieces for soprano, male narrator, and full symphony orchestra. (The male narrator is optional; he is not used in the play and does not appear in all recordings of the complete incidental music.) Beethoven wrote it between October 1809 and June 1810, and it was premiered on 15 June 1810. The subject of the music and dramatic narrative is the"
"a section of Sullivan's incidental music to Shakespeare's ""Henry the VIII"", as he did not have time to write a new overture, but this was replaced in 1884 by one executed by Hamilton Clarke. Of those remaining, the overtures to ""H.M.S. Pinafore"" and ""The Pirates of Penzance"" are by Alfred Cellier, the overture to ""Patience"" is by Eugene d'Albert, and those to ""The Mikado"" and ""Ruddigore"" are by Hamilton Clarke (although the ""Ruddigore"" overture was later replaced by one written by Geoffrey Toye). Most of the overtures are in three sections: a lively introduction, a slow middle section, and a"
"an 18th-century church) on the album ""Rosa i Botnen"" by Knut Hamre and Benedicte Maurseth. While the use of a Hardingfele in church in Norway may still be a bit sensitive for some, fiddlers in other parts of the world have no problems playing in churches for all types of occasions, including weddings. Edvard Grieg adapted many Hardanger folk tunes into his compositions, and composed tunes for the Hardanger as part of his score for Ibsen's ""Peer Gynt"" Suite No. 1. The opening phrase of ""Morning"" from Grieg's ""Peer Gynt"" music is derived from the tuning of the sympathetic strings"
"to this book."" Despite this defense of his poetic achievement in ""Peer Gynt"", the play was his last to employ verse; from ""The League of Youth"" (1869) onwards, Ibsen was to write drama only in prose. Ibsen wrote ""Peer Gynt"" in deliberate disregard of the limitations that the conventional stagecraft of the 19th century imposed on drama. Its forty scenes move uninhibitedly in time and space and between consciousness and the unconscious, blending folkloric fantasy and unsentimental realism. Raymond Williams compares ""Peer Gynt"" with August Strindberg's early drama ""Lucky Peter's Journey"" (1882) and argues that both explore a new kind"
"he improved the orchestra and began providing incidental music for the theatre's lavish productions, starting with ""Richard III"" in 1889. This music was well received (""The Times"" called for a concert suite to be arranged), and the overture soon became popular in concert halls. This eventually led to other incidental music commissions that gained success. In 1892, German composed music for a production of Henry Irving's version of ""Henry VIII"" at the Lyceum Theatre, London, where he incorporated elements of traditional old English dance. Within a year, sheet music of the dance numbers from the play's score had sold 30,000"
"The Alchemist (Handel) The Alchemist, HWV 43, is incidental music used for the revival of Ben Jonson's play ""The Alchemist"" at the Queen's Theatre, London on 14 January 1710. The work is an arrangement, by an anonymous composer, of music written by Handel. All but one of the movements were taken from the extended overture to Handel's first Italian opera ""Rodrigo"". The overture introduced the play and the other movements were used to fill the gaps between acts. The incidental music was published in full a few months after the first performance; however, it is unlikely that Handel received any"
"Henrik Ibsen Henrik Johan Ibsen (; ; 20 March 1828 – 23 May 1906) was a Norwegian playwright, theatre director, and poet. As one of the founders of Modernism in theatre, Ibsen is often referred to as ""the father of realism"" and one of the most influential playwrights of his time. His major works include ""Brand"", ""Peer Gynt"", ""An Enemy of the People"", ""Emperor and Galilean"", ""A Doll's House"", ""Hedda Gabler"", ""Ghosts"", ""The Wild Duck"", ""When We Dead Awaken"", ""Pillars of Society"", ""The Lady from the Sea"", ""Rosmersholm"", ""The Master Builder"", and ""John Gabriel Borkman"". He is the most frequently"
"Sigurd Jorsalfar (Grieg) Sigurd Jorsalfar is a work of incidental music composed by Edvard Grieg for a play by Bjørnstjerne Bjørnson celebrating King Sigurd I of Norway. The incidental music, published as Op. 22, was first performed in Christiania on 10 April 1872. An orchestral suite compiled by Grieg from the main work and published as Op. 56 was premiered in Oslo on 5 November 1892 and revised by the composer the same year. The full work consists of nine parts; five are purely orchestral, and four are scored for tenor or baritone, male chorus, and orchestra. Three of the"
"inspired by the play, that was first performed in 1827. In 1842, partly because of the fame of the overture, and partly because his employer King Friedrich Wilhelm IV of Prussia liked the incidental music that Mendelssohn had written for other plays that had been staged at the palace in German translation, Mendelssohn was commissioned to write incidental music for a production of ""A Midsummer Night's Dream"" that was to be staged in 1843 in Potsdam. He incorporated the existing Overture into the incidental music, which was used in most stage versions through the 19th century. The best known of"
"the same order. In 1979, he received the Arts Council Norway Honorary Award. He has also received awards from Sweden, Finland, Yugoslavia, and England. Harald Sæverud died in Bergen on 27 March 1992. The funeral ceremony, which took place in the Grieg Hall in Bergen, was broadcast by the Norwegian Broadcasting Corporation. Harald Sæverud Harald Sigurd Johan Sæverud (17 April 1897 – 27 March 1992) was a Norwegian composer. He is most known for his music to Henrik Ibsen's ""Peer Gynt"", ""Rondo Amoroso"", and the ""Ballad of Revolt"" (). Sæverud wrote nine symphonies and a large number of pieces for"
"The Tempest (Sullivan) The Tempest incidental music, Op. 1, is a set of movements for Shakespeare's play composed by Arthur Sullivan in 1861 and expanded in 1862. This was Sullivan's first major composition, and its success quickly brought him to the attention of the musical establishment in England. Sullivan wrote his incidental music to Shakespeare's play as his graduation piece while a conservatory student at Leipzig. Felix Mendelssohn was much admired by the tutors at the Leipzig Conservatory, and Sullivan's music, following the pattern of Mendelssohn's famous score for ""A Midsummer Night's Dream"", was chosen for inclusion in the Conservatory’s"
"success with Gilbert: ""His ideas are as suggestive for music as they are quaint and laughable. His numbers ... always give me musical ideas."" ""Pinafore"" was followed by ""The Pirates of Penzance"" in 1879, which opened in New York and then ran in London for 363 performances. In 1880 Sullivan was appointed director of the triennial Leeds Music Festival. He had earlier been commissioned to write a sacred choral work for the festival and chose, as its subject, Henry Hart Milman's 1822 dramatic poem based on the life and death of St. Margaret of Antioch. Gilbert adapted the libretto for"
"and theatre performance. The play has been the basis of several pieces of music. Perhaps the best known is the opera (1902) of the same name by Claude Debussy. In 1898, Gabriel Fauré had written incidental music for performances of the play in London and asked Charles Koechlin to orchestrate it, from which he later extracted a suite. The story inspired Arnold Schoenberg's early symphonic poem ""Pelleas und Melisande"" of 1902–03. Jean Sibelius also wrote incidental music for it in 1905; the section ""At the castle gate"" has found fame as the signature music of the BBC ""The Sky at"
"(baritone), Lahti Chamber Choir, conducted by Osmo Vänskä, as part of BIS Records' Complete Sibelius Edition. Belshazzar's Feast (Sibelius) Belshazzar's Feast (), Op. 51, is incidental music by Jean Sibelius to a play of the same name by the journalist, poet and playwright (1868−1927). Sibelius composed in 1906 eight movements, scored for orchestra, with singers also being required in some numbers: In 1907 Sibelius extracted a purely orchestral suite of four numbers, which is much better known than the original score. The first performance of the play and its incidental music was at the Swedish Theatre in Helsinki on 7"
"Music for a While Music for a While is a song for voice and basso continuo by the English Baroque composer Henry Purcell. It is the second of four movements from his incidental music (Z 583) to ""Oedipus"", a version of Sophocles' play by John Dryden and Nathaniel Lee, published in 1679. The song was composed for a revival of the work in 1692. The voice is accompanied by an instrumental part featuring an ascending ground bass. Additional harmonies would have been supplied by the musicians playing continuo. The Basso Continuo is different in this piece because it is only"
"as preludes, fugues, organ chorales, and similar. A stay in Denmark put him in touch with Thomas Laub, and Steenberg prepared an unauthorized hymnal that was published in 1947 as an innovative alternative to the official hymnal of 1926; it was based on Ludvig Mathias Lindeman's hymnal and was edited by music authorities including Eyvind Alnæs, Ole Mørk Sandvik, and Arild Sandvold. Steenberg's hymnal was adopted by enthusiasts such as Ingar Nilsen and Asbjørn Hernes. Per Steenberg Peder Steenberg (March 17, 1870 – June 28, 1947) was a Norwegian organist and composer from Nedre Eiker, best known for his church"
"100th anniversary of Ibsen's death in 2006 was commemorated with an ""Ibsen year"" in Norway and other countries. This year the homebuilding company Selvaag also opened ""Peer Gynt"" Sculpture Park in Oslo, Norway, in Henrik Ibsen's honour, making it possible to follow the dramatic play ""Peer Gynt"" scene by scene. Will Eno's adaptation of Ibsen's ""Peer Gynt"", titled ""Gnit"", had its world premiere at the 37th Humana Festival of New American Plays in March 2013. On 23 May 2006, The Ibsen Museum in Oslo reopened to the public the house where Ibsen had spent his last eleven years, completely restored"
"a further two weeks. Elgar later extracted five of the pieces – 1(a), 2, 5, 8 and 4 – and added an intermezzo for solo violin to create The Crown of India Suite. The first performance was at the Hereford Festival on 11 September 1912, by the London Symphony Orchestra conducted by the composer. The Suite gained immediate popularity: during Elgar's lifetime, there were 102 live performances of it on the BBC. The Crown of India March from the incidental music for the masque is also performed separately. The complete score for the ""Crown of India"" incidental music was only"