Turning to the representatives of Norway belonging to a later generation than Gade's, one naturally recalls the name of Grieg. Nevertheless Svendsen (1840) was born three years before Grieg, and holds a position of eminence only secondary to that of his Danish predecessor or of his Norwegian contemporary. A violinist as well as a composer, he possesses a gift for spontaneous and flowing melody. His music rests on a sound harmonic basis, is cleverly developed and skilfully orchestrated. It reveals national coloring though not to excess, and reflects the mind of a cosmopolitan musician. Svendsen's sphere of creative activity embraces various orchestral works, besides chamber music and smaller pieces. Prominent among these are the four Norwegian rhapsodies, and he has been particularly happy in arranging many Norwegian, Swedish and Icelandic melodies for small orchestra. GRIEG (1843) represents one of the few recent composers who have not been conspicuously influenced by ultra-modern tendencies beyond appreciation for the necessary alliance of poetry and music. The exact value of his attainments is not easy to define. D.G. Mason has been rather hard on him in his thoughtful essay entitled "From Grieg to Brahms," and in Germany there is also a disposition to regard much of his music as superficial. None the less, Grieg's style has a charm about it that is irresistible, and this charm goes far to silence the grumblings of critics more scientifically and profoundly trained than he. But it is precisely this naïve spontaneity, this guileless yet poetic touch, this flow of fancy emanating straight from the heart that endears his music to the more appreciative and emotional amateur. Though a pupil of the Leipzig Conservatory, Grieg early took a firm stand against the lukewarm Scandinavianism of Gade, and bestirred himself in a search for musical utterance that should present the indigenous characteristics of his own people in the most favorable light. His solution of this problem brought into existence a distinct Northern school of composition. As previously suggested, many peculiarities of his music are but the adaptation of time-honored Scandinavian characteristics. But though the strength of his works rests upon the development of Danish, Norwegian and Swedish Volkslieder, he has imbued these with an element of poetic coloring, of tender melancholy, of mystery, of quaint humor, of grotesqueness even to eccentricity that are all his own. Grieg's style is frequently lacking in breadth, nor does he possess the powers of a great orchestral composer. Nevertheless, his writing for strings alone is of surpassing beauty, with its multiple division of parts, its polyphonic voice-leading, and its impassioned deployment of violas and violoncellos. When at his best, Grieg handles his larger orchestral forces with similar rare skill. The orchestration of Björnsen's unfinished drama "Olaf Trygvason" and that of the music