idea of giving form and
expression to the national spirit and life, and from that time on he
devoted himself assiduously to national music, literature, and
folk-lore.

Later he married Miss Nina Hagerup, a popular Norwegian singer, who has
helped to make his songs well known in all Europe.

The next few years were spent in travel and study, and later in hard,
successful work among his own countrymen. The latter are genuinely
proud of him, and he has a firm hold on the affections of the people of
his native city, where he now resides. His country home, which is his
favorite retreat, is almost ideally located, with a commanding view of
the fjord and surrounded by forest and heights.

PROGRAM.

Suite. "From Holberg's Time." Opus 40.
Praeludium.
Sarabande.
Gavotte.
Air.
Rigaudon.
Songs for Alto Voice.
Sunset.
Cradle Song.
The Poet's Last Song.
Eight Lyric Pieces. Opus 12.
Arietta, Walzer, Wachterlied, Elfentanz, Volksweise, Norwegisch,
Albumblatt, Vaterlaendisches Lied.
Songs for Soprano.
"Good Morning."
"Thanks for Thy Hand."
Suite, Peer Gynt, Opus 46, 1.
"Morning Mood" (Morgenstimmung).
"The Death of Ase."
"Anitra's Dance."
"In the Halls of the Mountain King."
"On the Mountains." Opus 19, No. 1.

NOTE.--In case a good violinist is available, I recommend modifying the
above by omitting the "Holberg" suite and taking the "Peer Gynt" to
begin with; then close with the Sonata for Piano and Violin, Opus 8.

In many respects Edvard Grieg is one of the most interesting composers
of the present time. While it is by no means certain that his works
will find a place in the classics of the tone poetry of the world, he
is entitled, at least, to this much credit--of having, in the first
place, found a wider acceptance outside of his native Norway than has
fallen to the lot of any Scandinavian composer before him. He has also
made a more marked impression, and has brought into the music of the
world what might be called, in literary parlance, "a characteristic
note." It would be very curious and interesting, if it were
convenient, to trace the gradual evolution of this talent, as shown in
the successive works which have come from his pen. But for the present
it must suffice to speak of a few of them in a more particular manner.

Grieg has written in almost every department of music: cha