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In Norway, I wish to thank Siren Steen, curator of the Grieg Samling, Bergen Offentlige Bibliotek, for her guidance through the collection and her friendship during my stay in Bergen, as well as her invaluable assistance with photographic material during the book's production process; the Grieg Academy, who provided very generous academic support and a warm welcome (especially Ragna Sofie Grung Moe, who helped with many arrangements for my visit); Ingrid Gjertsen, curator of the Arne Bjorndal collection; Monica Jangaard and Erling Dahl, jr, at Troldhaugen; the Troldhaugen foundation.

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Any book on this period of Norwegian music must acknowledge the foundation laid by Norwegian scholars themselves, especially Finn Benestad, Dag Schjelderup-Ebbe and Nils Grinde.

I am grateful to the University of Nottingham Research Committee for an initial period of leave in autumn to winter 2004, which enabled the writing-up process to begin, and to my colleagues in the Department of Music for shouldering the additional administrative and teaching burden that my leave created.

Where detailed reference is made to musical pitches, the Helmholtz system of registral designation is used (middle c — c 1 ); capital letters are used to refer to pitch classes with no fixed registral position.

72, all of which are widely available in reliable and inexpensive editions.

My readers were Harald Herresthal and Benjamin Walton (Chapter 1); Robert Adlington (Chapter 2); W.

I am also grateful to Julian Rushton, David Fanning, Jeffrey Kallberg and Julian Johnson, who have been tremendously supportive of my work throughout the project.

They suggested many corrections and improvements to my text, without which the book would have been poorer, and I am indebted to them for their critical scrutiny.

Dean Sutcliffe and Judith Jesch (Chapter 3); and Stale Kleiberg (Chapters 4 and 5).

62/5 (opening strophe and conclusion) 141 vi Musical Examples 3.6. ix Grieg: Music, Landscape and Norwegian Identity Though much of this material has been translated into English, I have generally preferred to use my own translations when quoting from Norwegian sources, and all translations in this book are mine unless otherwise acknowledged.

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