Edvard Grieg – Famous Works

Edvard Grieg portrait – Norwegian Romantic composer

Portrait of Edvard Grieg.

Edvard Grieg (1843–1907) stands as a central figure of Scandinavian Romanticism and a defining voice of Norwegian national music. His style blends Romantic harmonic language with elements drawn from Norwegian folk tradition, creating a sound world both distinctive and lyrically direct.

His output spans orchestral music, chamber works, piano compositions, and songs, with a particular affinity for concise forms and melodic clarity. The following is a representative, carefully curated selection of his most significant works.

Orchestral Works

In Autumn, Overture, Op. 11
Two Elegiac Melodies, Op. 34
Holberg Suite (From Holberg’s Time), Op. 40
Peer Gynt Suite No. 1, Op. 46
Peer Gynt Suite No. 2, Op. 55
Lyric Suite, Op. 54
Sigurd Jorsalfar, Op. 56
Symphonic Dances, Op. 64

Chamber Music

Violin Sonatas (for violin and piano)

No. 1 in F major, Op. 8
No. 2 in G major, Op. 13
No. 3 in C minor, Op. 45
String Quartet in G minor, Op. 27
Cello Sonata in A minor, Op. 36

Piano Music

Four Pieces, Op. 1
Three Humoresques, Op. 6
Ballade in G minor, Op. 24
Lyric Pieces (Books I–X)
19 Norwegian Folk Songs, Op. 66
Norwegian Peasant Dances, Op. 72

For four hands

Two Symphonic Pieces, Op. 14
Four Norwegian Dances, Op. 35
Two Waltz-Caprices, Op. 37

Songs

Grieg composed approximately 150 songs for voice and piano. Representative examples include:

“Jeg elsker Dig” (I Love Thee), Op. 5 No. 3
“Autumn Song,” Op. 18 No. 5
“The Cottage,” Op. 18 No. 4
“Våren” (Spring), Op. 33 No. 2
Haugtussa, Op. 67

Comments

Robert Schumann - Träumerei (from Kinderszenen, Op. 15 No. 7)

The Woodman’s Child by Arthur Hughes reflects the dreamy and introspective atmosphere of Schumann’s Träumerei from Scenes from Childhood . For Robert Schumann , music was almost always a deeply personal expression of introspection, emotion, and poetic reflection—qualities that firmly establish him as one of the most significant composers of the Romantic era. The piano was Schumann’s first great love, and his works for the instrument have proved remarkably enduring over time. Schumann composed Kinderszenen ( Scenes from Childhood ), his best-known piano cycle, in 1838. It consists of thirteen “peculiarly small pieces,” as the composer himself described them, each bearing a title that evokes a distinct childhood impression or memory. Although all thirteen pieces share a sense of intimacy and charm, “Träumerei” ( Dreaming ) stands out as the most beloved and universally recognized. The piece is frequently included in solo piano anthologies and is often chosen by virtuoso perform...

Johann Strauss II - Tritsch-Tratsch-Polka, Op. 214 in A major

The Tritsch-Tratsch-Polka , Op. 214, was composed in 1858 by Johann Strauss II following a highly successful concert tour in Russia. During the summer season, Strauss performed regularly at Pavlovsk, near Saint Petersburg, a fashionable venue for open-air concerts that played a crucial role in shaping his international reputation. Shortly after his return, the polka was premiered in Vienna on 24 November 1858. The title itself reveals Strauss’s playful wit. In German, “Tratsch” refers to gossip or idle chatter, while “Tritsch” carries no literal meaning. Together, the words form an onomatopoeic pun, imitating the sound of lively conversation—much like the English expression “chit-chat.” Such wordplay was characteristic of Strauss, who delighted in pairing light-hearted music with humorous or evocative titles. True to its name, the Tritsch-Tratsch-Polka bursts with energy and rhythmic vitality. Strauss once remarked that dancers might happily pause their movements, engaging in anima...

Carl Maria von Weber - Clarinet Concerto No.2 in E-flat major, Op.74

The graceful and lyrical atmosphere of the countryside, so vividly evoked in many orchestral works by Carl Maria von Weber , reflects the composer’s poetic sensitivity throughout his short life. Just as Wolfgang Amadeus Mozart and Johannes Brahms wrote landmark works for the clarinet inspired by exceptional performers, Carl Maria von Weber found his own muse in the artistry of Heinrich Joseph Baermann , principal clarinetist of the Munich Court Orchestra. In 1811, Maximilian I of Bavaria commissioned Weber to compose two clarinet concertos specifically for Baermann, who would premiere them in Munich. Following the first performances, Weber recorded in his diary the “tumultuous applause” provoked by Baermann’s divine playing—testimony to the immediate impact of both the music and its interpreter. The Clarinet Concerto No. 2 adheres broadly to the Classical concerto form, though Weber introduces distinctive Romantic traits. Notably, the work contains no extended written cad...

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