In 1901, Edvard Grieg encountered many ‘Chopinesque’ elements in the latest work of the Zeeland-born (i.e., Dutch) composer and painter Gerard von Brucken Fock. The 24 preludes from opus 15 were played to him in Norway by Julius Röntgen, a respected (half) Dutch pianist and composer. From that moment onward, Grieg spoke – in jest, according to Von Brucken Fock – of ‘the Dutch Chopin’.