Peer Gynt Suite No. 1, Op. 46(Grieg)




Peer Gynt /ˈpɪər ˈɡɪnt/

Peer Gynt

Henrik Klausen as Peer (1876)
Written by Henrik Ibsen
Date premiered 24 February 1876
Place premiered Christiania
Original language Norwegian
Genre Romantic dramatic poem converted into a Play

Peer Gynt 是挪威现实主义剧作家Henrik Johan Ibsen(易卜生)的一部作品,在挪威是广为流传的。关键是“扑朔迷离的梦幻境界和形象。

According to Klaus Van Den Berg – “is a stylistic minefield: its origins are romantic, but the play also anticipates the fragmentations of emerging modernism. Chronicling Peer’s journey from the Norwegian mountains to the North African desert, the cinematic script blends poetry with social satire and realistic scenes with surreal ones. The irony of isolated individuals in a mass society infuses Ibsen’s tale of two seemingly incompatible lovers—the deeply committed Solveig and the superficial Peer, who is more a surface for projections than a coherent character.”

Edvard Grieg

Edvard Hagerup Grieg [ˈɛdʋɑʁd ˈhɑːgəʁʉp ˈgʁɪg] (15 June 1843 – 4 September 1907) was a Norwegian composer and pianist.

Peer Gynt Suites是指一些列incidental music。这些组曲是Edvard Grieg受Ibsen邀请为他的剧作Peer Gynt所写的音乐。他共做了两套组曲(各4首)。(Later, in 1888 and 1891, Grieg extracted eight movements to make two four-movement suites: Suite No. 1, Op. 46, and Suite No. 2, Op. 55.)

这里只介绍NO. 1,个人非常喜欢的诗剧配乐,描绘得极其生动,让人宛若身临其境,Grieg针对theme做了一系列的转调,对主旨的贴合度却让人惊讶。

Suite No. 1, Op. 46

Morning Mood (Morgenstemning)

The Death of Åse (Åses død)

Anitra’s Dance (Anitras dans)

In the Hall of the Mountain King (I Dovregubbens hall)

“晨景”——原为诗剧第四幕第五场的前奏曲。主人公远涉重洋,前往美洲去贩运黑奴,往中国贩运偶像,一时成了富商。这时,他来到摩洛哥,一天清晨,在一个山洞前面,他用独白披露自己的内心活动。但这段音乐所描绘的并非是炎热的沙漠,而更像北欧清晨静谧清新的抒情画面。乐曲具有牧歌风格,由单一的田园风味主题加以自由而精心的发展构成。

“奥丝之死”——母亲奥丝在弥留之际,培尔·金特赶了回来,他为母亲追忆儿时景象,并用幻想的故事陪母亲去赴天堂的盛筵。在全剧中,这是非常动人的一场。格里格的这段配乐悲壮肃穆,可称为一首悲歌或葬礼进行曲。

“安妮特拉之舞”——选自诗剧第四幕第六场。在沙漠绿洲中,一座阿拉伯酋长的帐篷里,酋长的女儿安妮特拉正用舞蹈对培尔·金特献媚。这段音乐描绘的正是这一场面,但严格地说,它远远超过了作为配乐的作用,因为它直接参与戏剧的内容,成为诗剧中密不可分的组成部分。

“在妖王宫中”——原为诗剧第二幕第六场的前奏。主人公在山中与妖王之女调情,并在妖王的威胁之下同妖女结了婚。这一场点出全剧的主题,即人与妖之间的区别,是最具幻想性的第二幕的真正核心。

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