hich the first idea returns with a coda.

The "Norwegian Bridal Procession" is extremely well known. It is a
very pretty light march which, when well done, is capable of very
charming effect. The "Carnival" is a very sprightly presto, full of
hurry and excitement, with occasional moments of softer suggestion, the
whole making very considerable demands upon the skill of the player.
In the coda the whole work is brought together again as one, since the
leading motives of all the parts here occur and intermingle one with
the other.

One of the most strongly worked out of the lighter works of Grieg is
the "Holberg" suite, the name being derived from that of the famous
Danish-Norwegian poet, who lived about the time of Bach. This opens
with a "Praeludium," followed by a "Sarabande" and "Gavotte"; the whole
ends with a "Rigaudon." This work has very much more the character of
a modern sonata than some that bear the name, but, avoiding the name
sonata, it is able to go its own way in any form of originality which
pleased the composer. The prelude is a musical idea worked out with
great bravura, and when well done it makes an excellent effect. There
is no particular story suggested in it, any more than in the first
prelude of Bach. The second movement, the Sarabande, has a great deal
of the peculiar pathos of Grieg. It should be played as if it were
being done by a string quartet, as legato and sympathetically as
possible. The Gavotte, again, is a charming example of modern antique,
short and pleasing. The fourth movement, an "air," is beautifully
done, and the last, the Rigaudon, in G major, a very pleasing and
sprightly dance effect. This work has less of the distinctly Norwegian
character perhaps than many of the earlier ones of Grieg, and it is
more seriously worked out in some respects, and therefore extremely
satisfactory.

In some of the earlier and smaller works of Grieg the national traits
appear, while in others nothing of this sort is to be observed. For
example, in the collection entitled "Lyric Pieces for the Piano," Opus
12, there are a charming arietta, a pretty little waltz, a very serious
fanciful piece called "Wachterlied," or the song of the watchers in
Shakspere's "Macbeth," an elfin dance, a curious peasant mazurka, a
quick Norwegian dance, an album-leaf, and a song of the Fatherland.
Here are eight little pieces, all comprised within the compass of eight
pages. In point of difficulty no one