This chapter deals with the few musical sources of this Singspiel (Freyas Altar, 1805) by the renowned Danish playwright Adam Oehlenschläger. Although not staged in Denmark, it was performed in Trondheim and Christiania in the first decades of the nineteenth century with music by local composers. After outlining the early Norwegian performances, the author describes the libretto with regard to the types of music the text implies and gives an analysis of the few musical sources. She also provides an overview of the composers’ careers and their production to give a broader context to their musical and social milieus and discusses the composers’ historical and contemporary reputation from the perspective of professionalism versus dilettantism. The composers were highly relevant in their lifetime, but have become marginalised in later Norwegian music historiography. This is discussed in relation to the establishment of a musical canon, where certain instrumental genres were defined as of especially high value, and to which the Singspiel genre and style did not belong. In addition, national romanticism in Norway contributed to an ideological distance to the culture that the country shared with Denmark, affecting later assessment of the composers of the period in the nation-building process.