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Another good fortune was a request from the distinguished poet, Henrik Ibsen, to produce music for his drama of "Peer Gynt." With the help of the annuity Grieg was able to give up teaching and conducting and devote himself to composition. He left Christiania, where he and Mme. Grieg had resided for eight years, and came back for a time to Bergen.
His versatility took him all the way from the role of Koko in the "Mikado," to Beau Brummel and Richard III. His success soon enabled him to assemble a company of his own; as its manager he produced with memorable effect "Cyrano de Bergerac," "Henry V.," and "Julius Caesar." He died in 1907, a few weeks after a striking creation of "Peer Gynt." A biography of Mr. Mansfield by Mr.
The African thinks this god has great power if he would only exert it, and when things go very badly with him, when the river rises higher than usual and sweeps away his home and his plantations; when the smallpox stalks through the land, and day and night the corpses float down the river past him, and he finds them jammed among his canoes that are tied to the beach, and choking up his fish traps; and then when at last the death-wail over its victims goes up night and day from his own village, he will rise up and call upon this great god in a terror maddened by despair, that he may hear and restrain the evil workings of these lesser devils; but he evidently finds, as Peer Gynt says, "Nein, er hort nicht.
It was the noise of Kew singing joyful extracts from Peer Gynt. Do you remember the beginning of the end of the Hall of the Mountain King? It goes: "Bomp chink.... Bomp chink.... Tootle tootle tootle tootle tootle tootle-tee.... Bomp-chink, ..." etc., etc.
The nearest approach to a justification of the moral or "problem" purpose, which Ibsen's graver prophets attribute to him, is found in the sixth scene of the fifth act, where, quite in the manner of Goethe, thoughts and watchwords and songs and tears take corporeal form and assail the aged Peer Gynt with their reproaches.
It sounds like Solveig's song from Peer Gynt, and I love that." "Then, that's what he does." Helen's tone held a touch of admiring awe as she listened. "And we thought he might be anything from a counterfeiter to an escaped convict hiding away up here. Oh, Kit, why do you suppose he keeps away from every one?" "Probably got a hidden sorrow," Kit answered. "Still he's got a terrible appetite. Mrs.
The fine depth of tone in the exordium of Struensée and the fugue development in the main theme are also not to be despised. But all that, we are told, is lacking in elevation and depth. Possibly; but it is not always necessary to descend to Hell and go up to Heaven. There is certainly more music in these overtures than in Grieg's Peer Gynt which has been dinned into our ears so much.
Without answering, Eleanor immediately began the "Peer Gynt" music and played the entire suite with remarkable expression. "How well you play!" exclaimed Jessica with eager admiration in her voice, as Eleanor turned around on the stool after she had finished. "I should love to hear you play on the violin. Anne heard you the other night, and told us about it."
Let us discuss for illustration the Ibsen tradition. Ibsen is generally the vitriolic foe of pageant. He must be read aloud. He stands for the spoken word, for the iron power of life that may be concentrated in a phrase like the "All or nothing" of Brand. Though Peer Gynt has its spectacular side, Ibsen generally comes in through the ear alone.
AEschylus in his 'Choephorae' and his 'Prometheus'; Sophocles in his 'OEdipus Tyrannus'; Euripides when he wrote 'The Trojan Women, 'Medea, and 'Hippolytus'; Shakespeare in his 'Leer'; Goethe in his 'Faust'; Ibsen in his 'Ghosts' and his 'Peer Gynt'; Tolstoy in 'The Powers of Darkness'; all all in those great works, must have satisfied their most comfortable and normal selves; all all must have given to the average human being, to the Public, what it wants; for to do that, we know, was the reason of their existence, and who shall say those noble artists were not true to it?
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