The Music

Movement I – The Abduction of the Bride. Ingrid’s Lament.

Opening with the harsh music from the beginning of Act II, this music portrays the
aftermath of the broken wedding. Set in a shrill G minor, the piercing upper strings
lead on the violent opening. The introduction leads to Ingrid’s lament. The strings play
a broad melody in unison as the theme develops. The mood is now low and sombre as
the upper strings move into their upper register to break away from the lower strings.
Upper woodwinds decorate the melody, with emphasis put on the slightly louder
phrases. As the lament comes to its end, the timpani brings back the opening theme.
Full of energy, the theme quickly subsides, as the music fades away.

Movement II – Arabian Dance

Taken from the middle of Act IV, Arabian Dance does what is promised in the title. A
peppy dance accompanied by whirling woodwinds and sharp percussion knit together
the themes of this movement. A number of sections frame the different themes of the
dance, from the opening shrill theme, to the central syncopated melody, the dance
has different sections to highlight different personas within the play itself.
Accompanied by off-beats, the violins take over the melody and the urgency in the
music becomes more apparent. After a bold reprise of the opening theme, the dance
comes to a mysterious end led by the triangle.

Movement III – Peer Gynt’s Homecoming

Also known as the ‘Prelude to Act V’, Peer Gynt’s Homecoming paints a picture of Peer
at sea. The tempest at sea is depicted with chromatic rise and falls from the upper
woodwind, bold brass stabs and rumbling percussion. As the waves hurl up across
Peer’s vessel, he reflects on the things he hasn’t been able to do in life. He also hears
the voice of his dead mother, as he trades questions with death. This is represented in
the music with the woodwind battling the brass. The strings swirl in the background
as the music begins to lower in dynamic and texture. Peer, now despairing, makes his
way to the hut of Solveig – the woman he had loved and left at different points in
preceding acts of the play. Once they meet, she comforts him.

Movement IV – Solveig’s Song

The final movement, which moves straight on from the previous movement,
represents Solveig’s cradle song, which she uses to comfort Peer in his time of need.
The rich textures and the folk elements dotted through the music gives a grass-roots
feel to the music. Grieg utilises the harp in this movement, offering glimmers of hope
from within the song. Perhaps the most famous movement of the four in this
suite, Solveig’s Song foreshadows Solveig redeeming devotion to Peer. The movement
goes between quiet and tender moments, to slightly faster and more open passages.
The peppy melody near the end brings the opening lullaby back to complete this suite
off tenderly.