Grieg’s (1843-1907) Peer Gynt Suites contain incidental music composed for Ibsen’s Peer Gynt, which tells of the downfall and subsequent redemption of a Norwegian peasant anti-hero. Suite No. 1 is Greig’s 2nd most popular composition, after his Piano Concerto. Morning Mood is tender and radiant, The Death of Aase mournful, Anitra’s Dance playful and seductive, and In the Hall of the Mountain King mysterious then riotous. Suite No. 2 begins with the mournful Abduction of the Bride, continues with mixed martial and peasant spirit in Arabian Dance, lyric drama in Peer Gynt’s Homecoming and pensive mood mixed with briefly recalled happiness in Solveig’s Song. The Holberg Suite’s 5 mvmts (based on 18th cent. dance forms) commemorate a great Scandinavian literary figure. The Prelude is exhilarating, the Sarabande lyrical, the Gavotte a court ballroom dance, the internal Musette a folk song, the following Air exquisitely beautiful, the Rigaudon a tribute to Norweigian folk violinists. In Sigurd Jorsalfar, Grieg celebrates King Sigurd I of Norway. In the King’s Hall draws on never-published piano music. Borghild’s Dream contrasts a sensitive string melody with an agitated section. Homage March’s martial theme is presented by four cellos.