Solveigs Sang (Solveig's Song) Henrik Ibsen

Kanske vil der gå både Vinter og Vår,
og neste Sommer med, og det hele År,
men engang vil du komme, det ved jeg vist,
og jeg skal nok vente, for det lovte jeg sidst.

Gud styrke dig, hvor du i Verden går,
Gud glæde dig, hvis du for hans Fodskam mel står.
Her skal jeg vente til du kommer igjen;
og venter du hist oppe, vi træffes der, min Ven!

Solveigs Sang (Solveig's Song)
English Translation © E. M. Smyth

The winter may pass and the spring disappear,
the summer too will vanish and then the year.
But this I know for certain: thou’lt come back again;
And e’en as I promised, thou’lt find me waiting then.

God help thee, when wand’ring thy way all alone,
God grant thee his strength as thou kneel’st at his throne.
If thou now art waiting in heav’n for me,
O there we’ll meet again love and never parted be!

솔베이지 노래

겨울이 가고 봄은 빠르게 사라지고
여름이 가고 해가 가고 또 해가 가도
언젠가 당신은 내 곁으로 돌아오리라 믿기에
약속대로 난 당신을 기다리고 있어요
아~

신은 언제나 당신을 지키고 있고
당신의 기도를 들어주실 것이기에
나는 여기서 당신을 기다리고 있어요
당신이 만일 하늘나라에 있다면 바로 날 불러주세요
아~


Solveig’s Song


Marita Solveig's Song
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Image


Peer Gynt cabin


The Peer Gynt trail


Peer Gynt de Ibsen


Sheet music


Letter from Henrik Ibsen to Grieg, January 23, 1874

Peer Gynt (Grieg)
Peer Gynt, Op. 23, is the incidental music to Henrik Ibsen's 1867 play of the same name, written by the Norwegian composer Edvard Grieg in 1875. It premiered along with the play on 24 February 1876 in Christiania (now Oslo).
Grieg later created two suites from his Peer Gynt music. Some of the music from these suites has received coverage in popular culture; see Grieg's music in popular culture.

Background
Edvard Grieg (1843–1907) was one of the definitive leaders of Scandinavian music. Although composing many short piano pieces and chamber works, the work Grieg did for Henrik Ibsen stood out. Originally composing 90 minutes of orchestral music for the play, he later went back and extracted certain sections for the suites. Peer Gynt's travels around the world and distant lands are represented by the instruments Grieg chooses to use.
When Ibsen asked Grieg to write music for the play in 1874, he reluctantly agreed. However, it was much more difficult for Grieg than he imagined, as he wrote to a friend:
"Peer Gynt" progresses slowly, and there is no possibility of having it finished by autumn. It is a terribly unmanageable subject. — Edvard Grieg (August 1874)

Letter from Henrik Ibsen to Grieg, January 23, 1874.
Nina Grieg, his wife, wrote of Edvard and his music: The more he saturated his mind with the powerful poem, the more clearly he saw that he was the right man for a work of such witchery and so permeated with the Norwegian spirit.
Even though the premiere was a "triumphant success", it prompted Grieg to complain bitterly that the Swedish management of the theatre had given him specifications as to the duration of each number and its order:
I was thus compelled to do patchwork... In no case had I opportunity to write as I wanted... Hence the brevity of the pieces.
For many years, the suites were the only parts of the music that were available, as the original score was not published until 1908, one year after Grieg's death, by Johan Halvorsen.

Original score, Op. 23
Various recordings have been made of this music. Some recordings that claim to contain the complete incidental music have 33 selections; the recording conducted by Ole Kristian Ruud is split into 49 items.
Both recordings include several verses from the drama, read by actors. The original score contains 26 movements:
Movements indicated in bold were extracted by Grieg into two suites.

Act I
Prelude: At the Wedding (I brudlaupsgarden)
The Bridal Procession (Brudefylgjet dreg forbi)
Halling (Halling)
Springar (Springdans)

Act II
Prelude: The Abduction of the Bride. Ingrid's Lament
(Bruderovet / Ingrids klage)
Peer Gynt and the Herd-Girls (Peer Gynt og seterjentene)
Peer Gynt and the Woman in Green (Peer Gynt og den grønkledde)
By His mount You Shall Judge Him (På ridestellet skal storfolk kjennes)
In the Hall of the Mountain King (I Dovregubbens hall)
Dance of the Mountain King's Daughter (Dans av Dovregubbens datter)
Peer Gynt hunted by the trolls (Peer Gynt jages av troll)
Peer Gynt and the Boyg (Peer Gynt og Bøygen)

Act III
Prelude: Deep in the Forest (Dypt Inne I Barskogen)
Solveig's Song (Solvejgs sang)
The Death of Åse (Åses død)

Act IV
Prelude: Morning Mood (Morgenstemning)
The Thief and the Receiver (Tjuven og heilaren)
Arabian Dance (Arabisk dans)
Anitra's Dance (Anitras dans)
Peer Gynt's Serenade (Peer Gynts serenade)
Peer Gynt and Anitra (Peer og Anitra)
Solveig's Song (Solvejgs sang)

Act V
Prelude: Peer Gynt's Homecoming (Peer Gynts heimfart)
Shipwreck (Skipsforliset)
Day Scene
Solveig sings in the hut (Solvejg syngjer i hytta)
Night Scene (Nattscene)
Whitsun Hymn (Pinsesalme)
Solveig's Cradle Song (Solvejgs vuggevise)

The complete score of the incidental music includes several songs and choral pieces. The complete score was believed to be lost until the 1980s and has been performed in its entirety only since then.[8] (See the article on Ibsen's play for a list of notable productions, including concert performances of the incidental music.)
It was originally orchestrated for: one piccolo, two flutes, two oboes, two clarinets in A, two bassoons, four horns in E, two trumpets in E, three trombones, a tuba, timpani, cymbals, bass drum, triangle, harp, and strings.

Edvard Grieg
Edvard Grieg (1843–1907) was one of the definitive leaders of Scandinavian music.
Although composing many short piano pieces and chamber works, the work Grieg did for Henrik Ibsen stood out. Originally composing 90 minutes of orchestral music for the play, he later went back and extracted certain sections for the suites. Peer Gynt's travels around the world and distant lands are represented by the instruments Grieg chooses to use.
When Ibsen asked Grieg to write music for the play in 1874, he reluctantly agreed. However, it was much more difficult for Grieg than he imagined, as he wrote to a friend:
"Peer Gynt" progresses slowly, and there is no possibility of having it finished by autumn. It is a terribly unmanageable subject.
— Edvard Grieg (August 1874)

Letter from Henrik Ibsen to Grieg, January 23, 1874.
Nina Grieg, his wife, wrote of Edvard and his music:
The more he saturated his mind with the powerful poem, the more clearly he saw that he was the right man for a work of such witchery and so permeated with the Norwegian spirit.
Even though the premiere was a "triumphant success", it prompted Grieg to complain bitterly that the Swedish management of the theatre had given him specifications as to the duration of each number and its order:
I was thus compelled to do patchwork... In no case had I opportunity to write as I wanted... Hence the brevity of the pieces.
For many years, the suites were the only parts of the music that were available, as the original score was not published until 1908, one year after Grieg's death, by Johan Halvorsen.