Eyvind Alnæs Eyvind Alnæs, born in Fredrikstad in 1872 and died in Oslo in 1932, was considered an influential figure in Oslo's musical life at the beginning of the 20th century. He worked as an organist in various churches for over 37 years before spending his final years as organist and cantor at Oslo Cathedral. Due to the difficult financial situation for church musicians in Norway at that time, Alnæs was not only active as an organist but also as a respected pianist, piano accompanist, and choirmaster. He was also active as chairman of the Norwegian Composers' Association and as a board member of TONO, and published instructional works and collections for piano and organ.[2][4][5]
Alnæs began his musical training in Oslo and continued it in Leipzig, where he studied composition with Carl Reinecke. With a scholarship, he continued his studies with Julius Ruthard in Berlin after his initial compositional successes encouraged him to do so. A colleague described him as a lyrically inclined composer whose works are characterized by a clearly defined expression. Among his most important compositions after 1900 are the Piano Concerto in D major, Op. 27, and the Second Symphony. His song cycles and poetic piano miniatures reflect his aim to create accessible and easily marketable music.[5]
In the Piano Concerto in D major, as well as in his symphonies, Alnæs's predilection for classical structures and a late-Romantic sound is evident. Gerhard Schjelderup characterized him as a composer who offered his listeners something familiar. The Piano Concerto captivates with its virtuosity and orchestral brilliance and reveals influences from composers such as Rubinstein and Rachmaninoff, whose tradition is close to Alnæs's music.
Christian Sinding, born in 1856 and died in 1941, came from an artistic family. His musical career began as a violinist in the Philharmonic Society under Johan Svendsen. After initial difficulties, Sinding finally found recognition in Munich and was able to devote himself entirely to composing. He lived in Germany for many years, where he created significant works such as the Piano Quintet and the internationally renowned piano piece "Frühlingsrauschen" (Springtime Breeze).
In his compositions, Sinding was more influenced by composers like Liszt and Wagner than by Norwegian folk music, unlike Grieg. His Piano Concerto in D-flat major impresses with its classical form and thematic unity. The concerto's repeatedly revised final movement demonstrates Sinding's endeavor to clarify the structure of the solo part without diminishing the work's complexity.