¹ Quotations from Delius's letters are from Carley, Lionel's Delius: A Life in Letters, Vol.I, 1862–1908, 1983 and Vol.II, 1909–1934, 1988 Google Scholar, and Grieg and Delius: a Chronicle of their Friendship in Letters, 1993.Google Scholar

² For fuller details, see ‘Frederick Delius and Norway’ by Lowe, Rachel Google Scholar, in A Delius Companion, ed. Redwood, Christopher, 1976, pp. 167–186.Google Scholar

³ Grieg in a letter to Frants Beyer, 13/2/1888: see Carley, Lionel: Delius: A Life in Letters, 1862–1908, 1983, p. 13;Google Scholar

⁴ Bird, John: Percy Grainger, 1976, p. 115.Google Scholar

⁵ Bird, , op.cit., p. 116.Google Scholar

⁶ Bird, , op.cit., p. 120.Google Scholar

⁷ ‘Grainger and Folksong’, by Tall, David Google Scholar, in The Percy Grainger Companion, ed. Foreman, Lewis, 1981, p. 57.Google Scholar

⁸ Bird, , op.cit., p. 110.Google Scholar

⁹ Letter from Frederick Delius to Jelka Delius, 21/4/1907.

¹⁰ Interview with John Amis, BBC, 14/6/1959, quoted by Bird, , op.cit., p. 111.Google Scholar

¹¹ Delius: Portrait of a Cosmopolitan, 1976, pp. 48–49.Google Scholar

¹² ‘Personal Recollections of Grieg’, Musical Times, 11 1907, p. 720 Google Scholar; see also Morton, John: Grieg, 1974, p. 123.Google Scholar

¹³ op cit.:see footnote 10.

¹⁴ Letter, 15/3/1909.

¹⁵ Letter, 23/6/1912.

¹⁶ Letter, 18/9/1912.

¹⁷ Letter to the editor of the London Evening Standard, 5/2/1927, quoted in ‘Impulsive Friend: Grainger and Delius’, by Carley, Lionel Google Scholar, in The Percy Grainger Companion, op.cit., p. 46.Google Scholar

¹⁸ ‘About Delius’, by Grainger, Percy Aldridge Google Scholar, in Warlock, Peter: Delius, rev. edition 1952, p. 172.Google Scholar

¹⁹ Bird, , op.cit., p. 111 Google Scholar. Eric Fenby is slightly dismissive about the impact of Grainger's harmonization on Delius: see Fenby, : Delius, 1971, pp. 58–62 Google Scholar. See also memoir, Grainger's, ‘The Personality of Frederick Delius’Google Scholar, first publ, in The Australian Music News, 07 1934 Google Scholar, reprinted in A Delius Companion, op.cit., pp. 117–129 Google Scholar, particularly p.128.

²⁰ ‘About Delius’, op.cit., pp. 171–173.Google Scholar

²¹ According to Percy, it was he who ‘urged’ Delius to ‘write some short pieces for small orchestra’ which led to On hearing the first cuckoo in spring: ‘About Delius’, op.cit., p. 172.Google Scholar

²² ibid., p.172.

²³ The only folksong which Grieg himself collected ‘in the field’ was ‘Gjendine's Lullaby’, op.66 No.19.

²⁴ ‘About Delius’, op.cit., p. 173.Google Scholar

²⁵ Warlock, : Delius, 1923, p. 118.Google Scholar

²⁶ Benestad, Finn and Schjelderup-Ebbe, Dag: Edvard Grieg: the Man and the Artist, 1988, p. 336.Google Scholar

²⁷ The complete piece is reproduced in Fenby, Eric's Delius, 1971, pp. 68–70 Google Scholar, with a short extract from On hearing… for comparison.

²⁸ Letter from Delius to Tischer, 26/7/1913.

²⁹ e.g., Horton, : Grieg, 1974, p. 123.Google Scholar

³⁰ Fenby, , op.cit., p. 70.Google Scholar

³¹ Grieg: a symposium, 1948 Google Scholar; editorial footnote p.56.

³² op.cit., p.96, footnote 2.

³³ See Schlotel, Brian, Grieg, 1986, p. 8.Google Scholar

³⁴ Warlock, : Delius, 1923, p. 132.Google Scholar

³⁵ Jefferson, Alan: Delius, 1972, p. 70 Google Scholar: ‘The cuckoo in this French spring is undoubtedly from the garden at Grez.’; Lionel Carley: ‘Hans Haym: Delius' Prophet and Pioneer’, in A Delius Companion, op.cit., p. 213 Google Scholar: ‘Some of his more Impressionist pieces, such as “In a Summer Garden” and “On hearing the first cuckoo in spring”, give us an instinctive feeling that, wherever the inspiration may be rooted, an essentially English natural setting is being evoked.’; Hutchings, Arthur: Delius, 1948, p. 85 Google Scholar: ‘The spirit is entirely English’.

³⁶ For fuller discussion of this matter, see my article, ‘The Notation of Bird-Song’, in Ibis, cxii, 1970, p. 151 Google Scholar. For more information on the cuckoo and its calls, see The Birds of the Western Palearctic, ed. Cramp, Stanley, 1985, Vol.IV, Terns to Woodpeckers, p. 412.Google Scholar