CHAPTER 38
Sounding a Nation: Grieg and Orchestral Nationalism
OVERVIEW
Program music of the nineteenth century continues as the subject in Chapter 38, here focusing on
the schools of nationalism that inspired the subgenre of the nationalistic symphonic poem. This
chapter explores Grieg’s incidental music to Peer Gynt as part of a larger discussion about the
schools of nationalism that inspired the subgenres of the symphonic poem, the concert overture,
and incidental music.
LEARNING OBJECTIVES
1. To understand the symphonic poem, the concert overture, and incidental music as the most
important genres of Romantic instrumental program music
2. To understand the various schools of nationalism that emerged in the nineteenth century,
and the musical works they inspired
3. To recognize the Norwegian nationalist context for Grieg’s incidental music to Peer Gynt
LECTURE SUGGESTIONS
1. Review Chopin’s Mazurka from Chapter 35, asking the class to reevaluate how this piece
suggests Polish identity (folk dance, rhythmic emphasis, and modality). Next, play for your
class brief excerpts from a variety of nationalistic symphonic poems of the nineteenth
century (for several examples, see the inserts in the map on p. 211 of the textbook). What
kinds of musical gestures communicate an impression of nationalism for each individual
country?
2. Compare the formal outlines of the concert overture, the symphonic poem, and incidental
music, using as examples, respectively: Rossini’s overture to La gazza ladra,
Mendelssohn’s incidental music for A Midsummer Night’s Dream, and Smetana’s Moldau.
Emphasize the standard forms in the first two genres (e.g., the march form of the opening
theme from La gazza ladra and the “Wedding March” from A Midsummer Night’s Dream),
and the unique, single-movement design of the symphonic poem. Ask students which of the
three formal designs they think best characterizes the Romantic spirit and why.
3. Have students recount the story of the troll daughters of the Mountain King from Ibsen’s
Peer Gynt. Play In the Hall of the Mountain King and ask students to focus on elements of
the music that resonate with Ibsen’s story. How do the symbols, places, and characters that
Ibsen and Grieg attempt to characterize dramatically and musically capture the spirit of
nationalism?
ASSIGNMENT SUGGESTIONS
1. Why is music an effective medium through which to communicate the sentiment of
nationalism? What are some examples of music—with and without text—that capture the
spirit of American nationalism? In the musical examples without text, which musical
gestures give the impression of “American–ness”? Why?
2. In Morning Mood from Peer Gynt Suite No. 1, Grieg depicts a sunrise breaking through
clouds to invoke a particular spirit of Norwegian folk storytelling. What evocations of
nature do you think best capture the spirit of your hometown, state, and country? Why?
What musical cues would you employ to depict these phenomena?
TEACHING CHALLENGES
Students most likely will not be familiar with the themes of Norwegian nationalist identity and
folklore. To enrich the study experience of Peer Gynt, consider sharing with your class some
background on Grieg’s association with the Norwegian nationalist movement and the kinds of
themes and characters important to Norwegian folklore.
SUPPLEMENTAL REPERTORY
Sibelius: Finlandia
Smetana: The Moldau, from Ma Vlast (My Country)
SUPPLEMENTAL BIBLIOGRAPHY
Curtis, Benjamin. Music Makes the Nation: Nationalist Composers and Nation-Building in
Nineteenth-Century Europe. Amherst, NY: Cambria Press, 2008. A general account of
nationalism in nineteenth-century music, with a focus on Wagner, Smetana, and Grieg.
Grimley, Daniel M. Grieg: Music, Landscape, and Norwegian Identity. Woodbridge, UK:
Boydell Press, 2006. Chapter 1 (“National Contexts: Grieg and Folklorism in Nineteenth–
Century Norway”) provides background on Grieg’s relationship with the folk music of
Norway within the larger context of Norwegian nationalism.
CHAPTER OUTLINE
Sounding a Nation: Grieg and Orchestral Nationalism (Chapter 38)
I. Varieties of Orchestral Program Music
A. Concert overture: single-movement concert piece for orchestra
1. outgrowth of opera overture, evokes idea or place
B. Incidental music: overture and pieces between acts of a play
1. sometimes arranged into suites
2. influential in development of film music
C. Symphonic poem (tone poem): one movement orchestral work
1. freer structure, flexibility
2. contrasting sections: suggest poetic ideas, scenes, moods
3. most widely used, second half of century
II. Musical Nationalism
A. Nationalism: pride of conquering nations, struggle for freedom
B. Political unrest in Europe stimulated nationalism
1. music based on folk songs and dances
2. dramatic works on folklore, peasant life
3. symphonic poems, operas: celebrate national hero, historic event, scenic beauty
4. love of homeland: powerful symbolism
C. Schools of musical nationalism
1. England: Elgar, Vaughan Williams
2. Scandinavia: Grieg, Sibelius
3. Spain: Albéniz, de Falla
4. Czech Republic: Smetana, Dvořák
5. Russia: “The Mighty Five,” Borodin, Mussorgsky, Rimsky-Korsakov; Tchaikovsky
III. A Scandinavian Nationalist: Edvard Grieg
A. Edvard Grieg (1843–1907)
1. Norwegian composer, pianist; international figure
2. studied in Leipzig: influenced by Mendelssohn and Schumann
3. promoted Scandinavian music
4. style: smaller-scale works, lyricism, nationalistic use of folk music and dances
5. output: orchestral works, piano music, chamber music, songs
B. Peer Gynt, Suite No. 1
1. Peer Gynt: play by Henrik Ibsen
a. based on Norwegian folk tale, strong moral message
2. Grieg’s Peer Gynt: incidental music for the play
a. final version: two orchestral suites, four movements each
b. Morning Mood:
i. atmospheric depiction of sunrise
c. In the Hall of the Mountain King:
i. conceived as grotesque ballet music
ii. wild troll daughters of the Mountain King taunt Peer
C. Listening Guide 27: Grieg, Peer Gynt, Suite No. 1, Op. 46, excerpts (1874–75 play; 1888
suite)
1. Morning Mood
a. A-B-A´ form
b. dreamy, flowing melody: flute and oboe
c. grows to loud climax, then dies away
d. pastoral instruments prominent (flute, oboe, horn)
2. In the Hall of the Mountain King
a. minor mode insistent theme: repeated six times, coda
b. duple-meter march, staccato notes, offbeat accents
c. huge crescendo and accelerando, dramatic ending