ressing a bright remark now to one, now to another of his guests,
nodding from right to left, particularly when something pleases him.
In the Adagio, and still more in the Finale, he reached a climax, both
in playing and in the praise he bestowed.

"When all was over, he handed me the manuscript, and said, in a
peculiarly cordial tone: 'Keep steadily on; you have the ability,
and--do not let them intimidate you!'

"This final admonition was of tremendous importance to me; there
was something in it like a sanctification. When disappointment and
bitterness are in store for me, I shall recall his words, and the
remembrance of that hour will have a wonderful power to uphold me in
days of adversity."

When Edward Grieg was a little over thirty, in the year 1874, the
Norwegian Government honored him with an annuity of sixteen hundred
crowns a year, for life. Another good fortune was a request from the
distinguished poet, Henrik Ibsen, to produce music for his drama of
"Peer Gynt."

With the help of the annuity Grieg was able to give up teaching and
conducting and devote himself to composition. He left Christiania,
where he and Mme. Grieg had resided for eight years, and came back
for a time to Bergen. Here, in January 1874, Ibsen offered him the
proposition of writing music for his work, for which he was arranging
a stage production.

Grieg was delighted with the opportunity, for such a task was very
congenial. He completed the score in the autumn of 1875. The first
performance was given on February 24, 1876, at Christiania. Grieg
himself was not present, as he was then in Bergen. The play proved
a real success and was given thirty-six times that season, for which
success the accompanying original and charming music was largely
responsible.

Norway is a most picturesque country, and no one could be more
passionately fond of her mountains, fjords, valleys and waterfalls
than Edward Grieg. For several years he now chose to live at Lofthus,
a tiny village, situated on a branch of the Hardanger Fjord. It
is said no spot could have been more enchanting. The little study,
consisting of one room, where the composer could work in perfect
quiet, was perched among the trees above the fjord, with a dashing
waterfall near by. No wonder Grieg could write of the "Butterfly," the
"Little Bird," and "To the Spring," in such poetical, vivid harmonies.
He had only to look from his window and see the marvels of nature
about him.

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