Richard Nordraak was a young Norwegian composer of great talent, who, in his brief career, created a few excellent works.  The two musicians met in the winter of 1864 and were attracted to each other at once.  Nordraak visited Grieg in his home, where they discussed music and patriotism to their hearts’ content.  Nordraak was intensely patriotic, and wished to see the establishment of Norse music.  Grieg, who had been more or less influenced by German ideas, since Leipsic days, now cast off the fetters and placed himself on the side of Norwegian music.  To prove this he composed the Humoresken, Op. 6, and dedicated them to Nordraak.  From now on he felt free to do as he pleased in music—­to be himself.

In 1864 Grieg became engaged to his cousin, Nina Hargerup, a slender girl of nineteen, who had a lovely voice and for whom he wrote many of his finest songs.  He returned to Christiania from a visit to Rome, and decided to establish himself in the Norwegian capital.  Soon after his arrival, in the autumn of 1856, he gave a concert, assisted by his fiancee and Mme. Norman Neruda, the violinist.  The program was made up entirely of Norwegian music, and contained his Violin Sonata Op. 8, Humoresken, Op. 6, Piano Sonata, Op. 7.  There were two groups of songs, by Nordraak and Kjerulf respectively.  The concert was a success with press and public and the young composer’s position seemed assured.  He secured the appointment of Conductor of the Philharmonic Society, and was quite the vogue as a teacher.  He married Nina Hargerup the following June, 1867, and they resided in Christiania for the next eight years.

Grieg could not endure “amateurish mediocrity,” and made war upon it, thus drawing jealous attacks upon himself.  His great friend and ally, Nordraak, passed away in 1868, and the next year his baby daughter, aged thirteen months, the only child he ever had, left them.

In spite of these discouragements, some of his finest compositions came into being about this period of his life.  Songs, piano pieces and the splendid Concerto followed each other in quick succession.

Another satisfaction to Grieg was a most sympathetic and cordial letter from Liszt on making acquaintance with his Sonata for violin and piano, Op. 8, which he praised in high terms.  He invited Grieg to come and visit him, that they might become better acquainted.  This unsolicitated appreciation from the famous Liszt was a fine honor for the young composer, and was the means of inducing the Norwegian Government to grant him an annuity.  This sum enabled him the following year, to go to Rome and meet Liszt personally.

He set out on this errand in October, and later wrote his parents of his visits to Liszt.  The first meeting took place at a monastery near the Roman Forum, where Liszt made his home when in town.

“I took with me my last violin Sonata, the Funeral March on the death of Nordraak and a volume of songs.  I need not have been anxious, for Liszt was kindness itself.  He came smiling towards me and said in the most genial manner: