establishing a musical style that reflects characters of Norway.1For instance, Ole Bull started to incorporate Norwegian folk music elements into classical music. Moreover, they shared an ambition of creating a Norwegian national theatre2that showcased Norwegian plays and music productions. Although Norway gained independence from Denmark, the center of music and play productions remained in Copenhagen and Copenhagen theaters only performed Danish plays. Through conversations and meetings with these composers early in Grieg’s career, Grieg felt obligated to continue to establish the Norwegian music style and fulfill his predecessor’s ambitions. These influences drove Grieg into becoming the most celebrated Norwegian nationalist composer.3The romantic nationalistic influences by his predecessors were reflected in Grieg’s musical compositions, particularly for his generous use of Norwegian traditional folk music.At the age of 31, Grieg accepted Norwegian playwright, Henrik Ibsen’s invitation to compose incidental music for Peer Gyntin 1874. Realizing the composition requires much more effort than writing short phrases for the play, Grieg showed difficulties in composing the incidental music as he described the play to be the “most unmusical of it all.”4After more than a year of hard work, the play was finally premiered in 28th February 1876 in the relatively new Christiania 1John Horton. Grieg. (London: Dent, 1974), 13-31.