We must grant it as one of Grieg’s distinctions that his songs have a marked individuality and distinction, one from the other, even though this distinction is more superficial than essential. In general scheme, no two of his best songs are much alike. Each has a virtue which is peculiar to it. In ‘Solvejg’s Song’ he writes in a modal folk-style, charming, yet a little more sophisticated than a folk-song would be. ‘Autumn Storm’ is a good piece of emotional expression, though uneven. ‘The Minstrel’s Song’ shows dramatic power in a compressed phrase. ‘The Youth’ is admirable in its management of a declamation which is still melody. More items of technical interest appear in ‘The Berry,’ ‘A Fair Vision,’ and ‘My Goal.’ These, especially the last, are all songs of a high order. In ‘My Goal’ we should notice the vigor which is injected into the whole piece by the composer’s harmonic freedom. The handling of the piano part on the _fff_ climax is especially typical of Grieg. In ‘The Berry’ the accompaniment contains a certain sort of free counterpoint, which becomes very effective in the composer’s chromatic method of handling it. ‘A Fair Vision’ (_Was sah ich_) makes much use of picture drawing in the accompaniment, with its glittering introduction and its delicious descending chromatic voice in the bass. The chords of the middle section, very Grieg-like in style, are particularly charming. In ‘Friendship’ the composer uses unusual chords, again, to express the feeling or the idea of unfaithfulness. The listener will be struck by the likeness of this song to Schubert’s _Doppelgänger_. ‘The Old Mother’ is a simple and very beautiful song, more folk-like even than is usual with Grieg. One of the most exquisite of Grieg’s songs, from the standpoint of artistry and taste, is ‘Hidden Love,’ a model of sensitive writing, in which every note can be heard and every note is in place. The deeply tragic note is not often sounded by Grieg, but in ‘By the Bier of a Young Wife’ he has achieved it superbly. This song is especially worth study for the extreme freedom of its modulation. The harmonic movement is so constant that there is scarcely any feeling of a change from key to key, but rather a sense of moving about in a musical world that is without tonality. The student should also notice the extremely effective use of dissonance. Among the shorter songs we should also notice ‘Solvejg’s Cradle Song’ and the ‘Folk-song from Langeland.’