The proof that this definiteness was acceptable to the world is to be found in the persistent popularity of Grieg’s pianoforte compositions. Most of these are in short forms and are relatively easy to play; which facts must also be held in some measure responsible for their popularity. There are several sets of ‘Lyrical Pieces,’ the best of which are _opera_ 12, 38, 43, and 47. The later sets, _opera_ 54, 57, 62, 65, and 68, show a falling off which is noticeable in all of Grieg’s work after middle life. There is a set of ‘Humoresques,’ some Northern Dances, and some ‘Album Leaves.’ It may be said of these in general that they are neatly composed, clearly phrased and balanced, sometimes polished; and that they are well-written for the keyboard. The spice of all is in the national idiosyncrasies of Norwegian music: the peculiar melodic avoidance of the sixth and second notes of the scale and the harmonies which result from such omissions; persistent rhythms emphasized by empty fifths in the bass, or by repetitions of short phrases with almost a barbaric effect; an interchanging of groups of two and three notes; finally a general harmonic boldness in which the bodily shifting of the music from one degree of the scale to another is prominent, and a host of odd accents. There are several longer works in which these national characteristics are not less obvious, but in which they are so expanded and interwoven as to make less strikingly folk-music. Among these must be mentioned the sonata in E minor, opus 7, the concerto in A minor, opus 16, the Ballade, opus 24, and the suite, _Aus Holberg’s Zeit_, opus 40. The sonata is well written, and the classical form is well sustained in the first movement. One does not find organic development, but, on the other hand, one finds no empty service music. The themes and the transitional passages are full of life, and strongly Norwegian. There is, unhappily, a dreary passage in 6/8 time in the development section which makes a dull use in the bass of the second phrase of the first theme. The coda is in brilliant pianoforte style. The poetic slow movement is also well-scored. The minuet is a Norwegian dance and the finale is stormy. The concerto may be taken as the finest of Grieg’s pianoforte works. It is a treasured addition to the stock of concertos, valued not only for the piquancy of Norwegian rhythms and harmonies, but for a successful handling of the form, a brilliant and yet a poetical treatment of both pianoforte and orchestra. Norway speaks in all the themes and in very nearly all the figures as well, but she speaks through a man who shows himself here a sensitive poet and a skillful artist. There seems to be a touch of Schumann in the first part of the first movement.