trying period of Norwegian storm and stress, but he wrote something
like a hundred compositions, and in his songs is found "the bud of
national feeling which has burst into full bloom in Grieg."

Richard Nordraak (1842-1866), during his brief career, set to music
several of Björnson's plays, and composed some strong pianoforte
pieces and songs. "He was," says Siewers, "a man with a bold fresh way
of looking at things, strong artistic interests, an untiring love of
work, and deep national feeling. He had decided influence upon his
friend Grieg's artistic views, and he is the connecting link between
Kjerulf and Grieg in the chain of Norwegian musical art."

Otto Winter-Hjelm, who, with Grieg, attempted to establish a
conservatory of music at Christiania after their return from Germany
in the sixties, contributed much to the national art of Norway by his
excellent arrangements of hallings and spring dances for piano and
violin. Thomas Thellefsen (1823-1874), a pupil and friend of Chopin,
was distinguished as a national composer as well as a pianist, and
Carl F.E. Neupert (1842-1888), who lived in America six years, did
much by his concert tours and teaching to dignify Norse music.

Johan Severin Svendsen, while a Norwegian by birth and training, has
expatriated himself by his long residence in Denmark. So far as his
compositions have national flavor they are German. Johan Selmer, while
a prolific composer, will probably be best remembered as a conductor.
Christian Sinding, after Grieg, is the best-known Norwegian composer.
His productions range from symphonies and symphonic poems through
chamber music to romances. He is credited with a wide range of musical
ideas, deep artistic earnestness, and bold power of expression; but
his compositions in the larger forms are thought unduly noisy and