 Ladies and gentlemen, the railroad out. Here's the star-studded show train. One of American railroads presents that sensational operetta success of a few seasons ago. Song of Norway, starring Gordon Macrae as Edvard Grieg, and his guest star, Ira Petina, in her original role of the Countess Louisa Giovanni. Our choir is under the direction of Norman Lubov, and the music is prepared and conducted by Carmen Dragon. Yes, tonight another great musical success is brought to you by the American railroads, the same railroads that bring you most of the food you eat, the clothes you wear, the fuel you burn, and all the other things you use in your daily life. And now, here is our star, Gordon Macrae. Ladies and gentlemen, tonight as the composer Edvard Grieg, I shall tell you how he found greatness in his concerto. On an enchanted hill called Trollhagen in Norway, I used to play when I was a child. With me would be Nina and Richard, my two dearest friends. And we three were pledged together in the solemn bond of the very young. But Nina went away, years passed. Rick began to write his great poem about Norway, and the urge began within me to set his words to music, to compose a work that would express the beauty and spirit of our dear land. A Song of Norway. Nina, is it really true that people in other countries know so little about us? Oh, they think we're savages. To the outside world, we're still vikings. The people of mountains are nice. Oh, come now, Rick. You, Edvard, could do so much. A man whose music is as Norwegian as a fjord. See, Nina? Rick's still waving his flaming sword. Sword, fjord. I've made a rhyme. Oh, but you're not supposed to, Edvard. Rick has always been the poet, ever since we were children. And you were always the princess, Nina. And you the menstrual, Edvard. One came to me that I was in love with Nina, asking her to marry me carried with her the problem. My earnings as a composer were painfully small. The solution came with the arrival in our village of the fabulous Countess Louisa Giovanni, a famous opera singer. She'd come for our Midsummer's Eve festival. And our simple people stood a gate before the stasling lady. It's quite different from your Grand Opera Countess. You told me she was going on a concert tour that would take in all the great cities of Europe. And then I stood there in amazement when she proposed I go along as her accompanist. I hesitated, but as far as the Countess was concerned, the matter was settled. So I heard to talk with Nina about it. As usual, Nina understood perfectly. Edvard, I've already asked Rick to tell the Countess that you will accept. But Nina, it means being away from you again. And here in our lovely northern twilight, I'm seeing you as if for the first time. Edvard, darling. Over the sight of you comes music. Can you hear it? Yes. It's so near it touches us. Music. Of the wind and the trees. It's consented to be my wife. This is our holiday. When we go tomorrow, there's the music for your poem. You could do it when you come back, Edvard. I'll miss you, darling, so very much. You'll never be too far away, Edvard. I shall always have your music in my heart. How can seem far away during the months that follow? Paris, London, Vienna. With Louisa as usual and complete charge of things. Allow me to present my protégé. And soon the country boy from Norway became the lion of the salon. Edvard, I want you to meet another celebrity. The famous playwright, Henrik Ipsen. Another coup for Louisa. Edvard agreed to collaborate with Ipsen on his play, Pier Guint. Although Nina and I had been married for some months, we were becoming estranged. This added to my distraction. She remained discreetly in the background, politely refusing Louisa's invitations. Such is the fateful night when I'd finished the music for Pier Guint. And to celebrate, Louisa had given a glittering pot. Louisa, I'm grateful for everything you've done for me, but Louisa, they want you to sing. Thank you very much, my dear friends. I'll sing a song that Edvard wrote, especially for me when we were in Vienna. Remember, Edvard? For myself, I could feel nothing but a great sadness. I accepted the praise of the guests mechanically. It was Nina I was thinking of. And then to my astonishment, I saw her walking quickly toward me. Nina! Nina, what is it? What's wrong? Edvard, a letter just came for you. Special post. It's from Rick's father. Rick's father? Why should he write to me? Let me have it, please, Nina. Crossing in our lovely fjords sparkled with the last light of a dying sun. It is so with me in my life where I can hear God whisper. To you, Edvard, I leave Norway, the maid so fair, like a crystal to behold. I failed you as I failed Rick. Edvard, darling, you love me enough to give up all this forever? Love you enough? Oh, Nina, it was here in our hill of dreams that you first said, I love you, Edvard. Sleep on, my sleep is Norway. Thy chill dark star will yet burn brighter for thy sleep. The words fit into this night. Nina, as I sit here at the piano, those words bring back the memory of Rick's voice. Beyond. Far beyond the span and space of all place north and before, long before the face of time fell upon the fjord, a mountain's love for the sky. The sun knew the earth and the land bore spring. Meanwhile, this is Gordon Macrae giving his warmest thanks to the members of the supporting cast. Dorothy Coulter as Nina and Gilbert Russell as Rick. In Song of Norway with musical adaptation and lyrics by Robert Wright and George Forrest, based on a play by Homer Curran. Song of Norway was adapted for the railroad hour by Milton Lazarus, who also wrote the original stage play. The railroad hour is brought to you each week at this time by the American Railroads. Remember that whenever you ship by rail, your money is working in four different ways. One is for safe, dependable transportation. It helps ensure better and more economical service in the years ahead. It promotes business for industry and jobs for people in all parts of the country. And it means taxes that help pay for the education of your children and the general public welfare. Yes, for the country and for you. It's good business to do business with the railroads. And now, here is Ira Petina from the United States Association of American Railroads in this exciting production of Song of Norway. You played the countess when Song of Norway opened in New York, didn't you, Ira? Yes. It ran three years and I'm still alive. When are you going to play it again? But this is only a half-hour show, I'm afraid. Well, maybe sometime soon, Gordon. Meanwhile, I shall be listening every week to the railroad hour. Good. It's already to full out and so on until next week. Goodbye.