This analytical vignette discusses harmonic aspects of “Sérénade,” Op. 15 No. 1 (1882), a Romantic character piece by the Norwegian composer Agathe Backer Grøndahl (1847‐1907). This piece, the first in the three-part collection Trois morceaux, has remained one of her most popular works. The analysis is framed by a discussion of the double-edged reception of “Sérénade” as “a piece of poetry for piano.” Focusing on voice-leading models, the analysis reveals a subtle interplay between typical eighteenth-century and nineteenth-century models in Backer Grøndahl’s work.