mastery of the instrument. That these qualities are, unfortunately,
not always provided by our musical education is one of the reasons why
the public at large has made the acquaintance as yet of only a limited
number of these songs, among which those in the list above are the best
known.

In the judgment of the present writer it is as certain as anything in
the future can be that the works of Brahms are destined to enter into
the pantheon of the classical in musical art; and are entitled to that
distinction by the purity and beauty of their style no less than by the
intense originality of the ideas themselves and of their treatment.
Musical students, therefore, are earnestly recommended not to permit
themselves to be discouraged by the difficulties which their first
acquaintance with Brahms will reveal. It is, first, to play the
pieces; and, second, to play them in a musical way; then, if the
instrument itself is of a musical tone, with a good singing quality,
the beauties of the works will more and more appear, and the study will
become a delight and an inspiration no less than a great technical
education.

PROGRAM.

Symphony in E minor. Four hands. (Schirmer.)
Waltzes, opus 39.
Variations upon a Theme by Haendel. Opus 21.
Four Ballads. Opus 10.
Intermezzo, No. 1, opus 119.
Intermezzo, No. 4, opus 116.
Rhapsody, No. 2, opus 79.
Serenade in D major. Four hands.
Songs ad libitum.

If it is possible to command the services of capable instrumentalists,
very attractive modifications of the foregoing program can easily be
made.

CHAPTER III.

GRIEG.

EDVARD GRIEG.

Born 1843, at Bergen, Norway.

Edvard Hagerup Grieg was born June 15, 1843, at Bergen, Norway. His
musical talent asserted itself early, and fortunately his parents were
able to provide him with the best of conditions for its development.
The famous violinist Ole Bull was a friend of the family and encouraged
him to devote himself to the musical profession. In 1858 Grieg went to
Leipsic to study under Moscheles, Hauptmann, Wenzel, and Reinecke. He
graduated in 1862, receiving praise for one or two small compositions
which were played at the final rehearsal, but he was not considered as
marked for certain distinction.

Soon after he went to Copenhagen and studied with Gade. Here he met a
compatriot, Nordraak, with whom he struck up a warm friendship. The
latter, so it is said, imbued Grieg with the