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“In the Mood:” Peer Gynt and the Affective Landscapes of Grieg's Stemninger, op. 73

“In the Mood:” Peer Gynt and the Affective Landscapes of Grieg's Stemninger, op. 73 Edvard Grieg's prelude to the fourth act of Henrik Ibsen's “dramatic poem” Peer Gynt (1867/76), “Morning Mood,” is among the best-loved passages in the repertoire. Commonly assumed to invoke Norway's iconic western fjords, the prelude in fact sets the stage for Ibsen's eponymous wanderer, washed up on the Moroccan coast. Commentators have recently argued for a more nuanced and multilayered response to the sense of place in Grieg's score, but the idea of “mood,” and its relationship with landscape, is central to Grieg's work in other ways and extends well beyond his famous collaboration with Ibsen. This article examines the significance of mood in one of Grieg's last works, the piano collection Stemninger (“Moods”), op. 73, and assesses the term's significance and its association with notions of landscape, absence, agency, and displacement. http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png 19th-Century Music University of California Press

“In the Mood:” Peer Gynt and the Affective Landscapes of Grieg's Stemninger, op. 73

19th-Century Music , Volume 40 (2): 25 – Nov 1, 2016

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References (1)

Publisher
University of California Press
Copyright
© 2016 by the Regents of the University of California. All rights reserved. Please direct all requests for permission to photocopy or reproduce article content through the University of California Press's Reprints and Permissions web page, http://www.ucpress.edu/journals.php?p=reprints.
ISSN
0148-2076
eISSN
1533-8606
DOI
10.1525/ncm.2016.40.2.106
Publisher site
See Article on Publisher Site

Abstract

Edvard Grieg's prelude to the fourth act of Henrik Ibsen's “dramatic poem” Peer Gynt (1867/76), “Morning Mood,” is among the best-loved passages in the repertoire. Commonly assumed to invoke Norway's iconic western fjords, the prelude in fact sets the stage for Ibsen's eponymous wanderer, washed up on the Moroccan coast. Commentators have recently argued for a more nuanced and multilayered response to the sense of place in Grieg's score, but the idea of “mood,” and its relationship with landscape, is central to Grieg's work in other ways and extends well beyond his famous collaboration with Ibsen. This article examines the significance of mood in one of Grieg's last works, the piano collection Stemninger (“Moods”), op. 73, and assesses the term's significance and its association with notions of landscape, absence, agency, and displacement.

Journal

19th-Century MusicUniversity of California Press

Published: Nov 1, 2016

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