The extraordinary popularity of the first two books of Lyric Pieces (opp. 12 and 38) was interpreted differently by Grieg and his publisher. Whereas Grieg would have liked to call his third book “Spring Songs,” so as to counteract the impression of a serial publication, the publisher recommended keeping the Lyric Pieces “brand name” – and he got what he wanted. Huge and long-lasting success quickly followed: some 20 years later the publisher proudly reported to Grieg that his Lyric Pieces, especially opp. 12 and 43, were selling “like hot cakes”.
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In May 1886 Grieg’s publisher Max Abraham, from the House of Peters in Leipzig, asked him to supply a new series of “little lyric pieces” (Lyrische Stückchen) for publication as part 2 of his opus 38. By 25 July Grieg could already answer: “Over the last few days I’ve finished a volume of piano pieces which I call Spring Songs, Lyric Pieces, volume 3, op. 43. I … 계속
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Edvard Grieg
Most important Norwegian composer of the nineteenth century and promoter of Norwegian folk music. His lyrical character pieces in particular are well known.
| 1843 | Born in Bergen on June 15, the son of a merchant and British consul; early piano lessons with his mother, who was a pianist. |
| 1858–62 | Studies at the Leipzig Conservatory. |
| 1862 | Concerts in Norway. |
| 1863 | Copenhagen, with the support of Niels W. Gade. |
| from 1864 | Interest in Norwegian folk music, which finds its way into his compositions. |
| 1866 | Breakthrough with a concert of Norwegian music. Conductor of the Philharmonic Society. |
| 1867 | The first of a total of ten volumes of Lyric Pieces for piano, Op. 12, with relatively simple piano settings. |
| 1868/69 | Composition of the Piano Concerto in A minor, Op. 16, which is based on Schumann’s piano concerto. |
| 1869 | “25 Norwegian Folk Melodies and Dances,” Op. 17, for piano. |
| 1873 | Begins work on the opera “Olav Trygvason,” Op. 50, after Bjørnson, which is never completed. |
| 1874 | Composition stipend from the state. |
| 1874/75 | Composition of incidental music to Ibsen’s “Peer Gynt,” Op. 23, the basis for the Peer Gynt Suites. |
| 1876 | Attends the premiere of Wagner’s “Der Ring des Nibelungen” in Bayreuth. |
| 1880–82 | Conductor of the “Harmonien” musical society in Bergen. Thereafter he accepted no other positions. |
| 1883 | Visit to Bayreuth; he hears Wagner’s “Parsifal.” |
| 1884 | Composition of “From Holberg’s Time,” Op. 40, his most popular work. |
| from 1885 | He moves into his villa “Troldhaugen” (near Bergen). Composition and revision of older works in spring and summer, concert tours in fall and winter. |
| 1891 | Composition of the “Lyric Suite,” Op. 54, orchestrated in 1905. |
| 1907 | Death in Bergen on September 4. |