inctly enriched the world's stream of tone-poetry,
and introduced a new accent and voice. He has distinguished himself in
almost every department, in songs, choral work, chamber music,
symphonies, sonatas for piano and piano and violin, and orchestral
suites, of which perhaps his two "Peer Gynt" are the most celebrated.
In person Grieg is slight, fair-haired, with lovely deep blue eyes and
a charming manner. He is subject to pulmonary weakness, and is
compelled to reside much of his time in warmer climates than those of
his native land.

[Illustration: [autograph] Niels W. Gade]

An older composer than Grieg is Niels Wilhelm Gade (1817-1890), of
Copenhagen, who after a thorough musical education received in his
native city, attracted wider attention in 1841 by taking the prize for
his concert overture, "Night Sounds from Ossian," the judges being Fr.
Schneider and Spohr, the violinist. This gave Gade a royal stipendium,
with which he immediately betook himself to study at Leipsic, where he
came under the personal influence of Mendelssohn, an influence which
he never outgrew. At the death of Mendelssohn he was appointed
director of the Gewandhaus, but not proving in all respects
satisfactory he held the position only a part of one season. After the
death of Glaeser in 1861, Gade was made royal music director at
Copenhagen, a position which he filled many years. He was active as
composer in every direction, his published works embracing eight
symphonies, five overtures, two concertos for violin and orchestra,
three violin sonatas, several cantatas for mixed voices, soli and
orchestra, and many other works. The ultimate judgment of Gade as a
tone-poet is likely to be that while distinctly talented, he never
attained imagination of the first order.

Among the younger composers Christian Sinding (1856- ) is to be
mentioned. Besides many works for chamber, he has written one
symphony, which while not very original gives promise of better
productions later.

V. MUSIC IN ENGLAND.

The relation of England to the higher art of music has been peculiar.
In the sixteenth century and earlier it was one of the most musical
countries in Europe; but from the appearance of Haendel, about 1720,
German music and German composers absorbed public attention to the
exclusion of the natives--no one of whom, it may be added, evinced
creative powers of any high order. England was a liberal patron of all
the leading German masters, from H