Edvard Hagerup Grieg ( GREEG, Norwegian: [ˈɛdvaʁd ˈhɑ̀ːɡəʁʉp ˈɡʁɪgː]; 15 June 1843 – 4 September 1907) was a Norwegian composer and pianist. He is widely considered one of the leading Romantic era composers, and his music is part of the standard classical repertoire worldwide. His use of Norwegian folk music in his own compositions brought the music of Norway to fame, as well as helping to develop a national identity, much as Jean Sibelius did in Finland and Bedřich Smetana in Bohemia. Grieg is the most celebrated person from the city of Bergen, with numerous statues that depict his image and many cultural entities named after him: the city's largest concert building (Grieg Hall), its most advanced music school (Grieg Academy) and its professional choir (Edvard Grieg Kor). The Edvard Grieg Museum at Grieg's former home, Troldhaugen, is dedicated to his legacy.

Lyric Pieces (Norwegian: Lyriske stykker) is a collection of 66 short pieces for solo piano written by Edvard Grieg. They were published in 10 volumes, from 1867 (Op. 12) to 1901 (Op. 71). The collection includes several of his best known pieces, such as "Wedding Day at Troldhaugen" ("Bryllupsdag på Troldhaugen"), "To Spring" ("Til våren"), "March of the Trolls" ("Trolltog"), and "Butterfly" ("Sommerfugl"). The theme of the first piece in the set, "Arietta", was one of the composer's favorite melodies. He used it to complete the cycle in his last lyric piece, "Remembrances" ("Efterklang") — this time as a waltz. The first complete recording of the Lyric Pieces was recorded and released in the Soviet Union by Alexander Goldenweiser in the 1950s. In 2002, Norwegian pianist Leif Ove Andsnes recorded a CD with 24 of the lyric pieces on Grieg's own 1892 Steinway grand piano at Troldhaugen, the composer's residence. Among other notable pianists to have made recordings of the collection are Daniel Gortler, Håkon Austbø, Aldo Ciccolini, Andrei Gavrilov, Walter Gieseking, Emil Gilels, Stephen Hough, Eva Knardahl, Juhani Lagerspetz, Daniel Levy, Gerhard Oppitz, Javier Perianes, Sviatoslav Richter and Einar Steen-Nøkleberg. A few recordings and piano rolls of Grieg himself performing also exist, and they have been published by the Norwegian record label Simax. Four of the six pieces from Book V, Op. 54, were orchestrated under the title of Lyric Suite. Both Grieg and Anton Seidl had a hand in the orchestrations. Grieg also orchestrated two of the pieces from Book IX, Op. 68.

The following is a sortable list of compositions by Edvard Grieg (1843–1907). The works are categorized by genre, catalogue number, date of composition and titles. Catalogue numbers (Cat. No.) of compositions by Edvard Grieg include, according to the catalogue compiled by Dan Fog and the Edvard Grieg Committee: Opus numbers (Op.) 1–74 EG numbers (EG) 101–181, for works with no assigned opus number

The following is a sortable list of compositions by Edvard Grieg (1843–1907). The works are categorized by genre, catalogue number, date of composition and titles. Catalogue numbers (Cat. No.) of compositions by Edvard Grieg include, according to the catalogue compiled by Dan Fog and the Edvard Grieg Committee: Opus numbers (Op.) 1–74 EG numbers (EG) 101–181, for works with no assigned opus number

The following is a sortable list of compositions by Edvard Grieg (1843–1907). The works are categorized by genre, catalogue number, date of composition and titles. Catalogue numbers (Cat. No.) of compositions by Edvard Grieg include, according to the catalogue compiled by Dan Fog and the Edvard Grieg Committee: Opus numbers (Op.) 1–74 EG numbers (EG) 101–181, for works with no assigned opus number

The four Symphonic Dances Op. 64 by the Norwegian composer Edvard Grieg were written c. 1896 and published in 1897. They draw their inspiration from the earlier folk works collected by Ludvig Mathias Lindeman. Dance No. 1, G major, Allegro moderato e marcato Dance No. 2, A major, Allegretto grazioso Dance No. 3, D major, Allegro giocoso Dance No. 4, A minor, Andante - Allegro risoluto

The Holberg Suite, Op. 40, (Norwegian: Fra Holbergs tid (From Holberg's Time)), subtitled "Suite i gammel stil" ("Suite in olden style"), is a suite of five movements based on eighteenth-century dance forms, written by Edvard Grieg in 1884 to celebrate the 200th anniversary of the birth of Dano-Norwegian humanist playwright Ludvig Holberg (1684–1754). It exemplifies nineteenth-century music which makes use of musical styles and forms from the preceding century. Although not as famous as Grieg's incidental music from Peer Gynt, which is itself usually performed as arranged in a pair of suites, many critics regard the works as of equal merit.

Edvard Grieg composed his Funeral March in Memory of Rikard Nordraak in 1866, in honour of his friend and fellow Norwegian composer Rikard Nordraak, who had died in March of that year at the age of 23. Grieg deeply respected his fellow musician and took no delay in producing the work. The march was originally written as a piano piece in A minor; Grieg also produced transcriptions of it for brass choir and wind band, in B♭ minor. Grieg valued the work greatly, bringing it along on all of his travels. In one letter he made it clear that he wished the piece to be played at his own funeral, "as best as possible." It was played, in an orchestration by Johan Halvorsen, Grieg's friend, colleague and nephew-in-law. The work has a few arrangements by later musicians, including one by Geoffrey Emerson. It lasts six to eight minutes, depending on the arrangement and tempo.

Frédéric François Chopin (born Fryderyk Franciszek Chopin; 1 March 1810 – 17 October 1849) was a Polish composer and virtuoso pianist of the Romantic period who wrote primarily for solo piano. He has maintained worldwide renown as a leading composer of his era whose "poetic genius was based on a professional technique that was without equal in his generation". Chopin was born in Żelazowa Wola and grew up in Warsaw, which in 1815 became part of Congress Poland. A child prodigy, he completed his musical education and composed his early works in Warsaw before leaving Poland at age 20, less than a month before the outbreak of the November 1830 Uprising; at 21, he settled in Paris. Thereafter he gave only 30 public performances, preferring the more intimate atmosphere of the salon. He supported himself by selling his compositions and giving piano lessons, for which he was in high demand. Chopin formed a friendship with Franz Liszt and was admired by many musical contemporaries, including Robert Schumann. After a failed engagement to Maria Wodzińska from 1836 to 1837, he maintained an often troubled relationship with the French writer Aurore Dupin (known by her pen name George Sand). A brief and unhappy visit to Mallorca with Sand in 1838–39 proved one of his most productive periods of composition. In his final years he was supported financially by his admirer Jane Stirling. In poor health most of his life, Chopin died in Paris in 1849 at age 39. All of Chopin's compositions feature the piano. Most are for solo piano, though he also wrote two piano concertos before leaving Warsaw, some chamber music, and 19 songs set to Polish lyrics. His piano pieces are technically demanding and expanded the limits of the instrument; his own performances were noted for their nuance and sensitivity. Chopin's major piano works include mazurkas, waltzes, nocturnes, polonaises, the instrumental ballade (which Chopin created as an instrumental genre), études, impromptus, scherzi, preludes, and sonatas, some published only posthumously. Among the influences on his style of composition were Polish folk music, the classical tradition of Mozart and Schubert, and the atmosphere of the Paris salons, of which he was a frequent guest. His innovations in style, harmony, and musical form, and his association of music with nationalism, were influential throughout and after the late Romantic period. Chopin's music, his status as one of music's earliest celebrities, his indirect association with political insurrection, his high-profile love life, and his early death have made him a leading symbol of the Romantic era. His works remain popular, and he has been the subject of numerous films and biographies of varying historical fidelity. Among his many memorials is the Fryderyk Chopin Institute, which was created by the Polish parliament to research and promote his life and works, and which hosts the prestigious International Chopin Piano Competition, devoted entirely to his works.

Edvard Grieg's Lyric Suite is an orchestration of four of the six piano pieces from Book V of his Lyric Pieces, Op. 54. Both Grieg and the Austro-Hungarian conductor Anton Seidl had a hand in the orchestration. It consists of three pieces revised by Grieg from Seidl's arrangements, and one piece arranged by Grieg alone. It was one of Grieg's later works and his last orchestral work.

The following is a sortable list of compositions by Edvard Grieg (1843–1907). The works are categorized by genre, catalogue number, date of composition and titles. Catalogue numbers (Cat. No.) of compositions by Edvard Grieg include, according to the catalogue compiled by Dan Fog and the Edvard Grieg Committee: Opus numbers (Op.) 1–74 EG numbers (EG) 101–181, for works with no assigned opus number

Peer Gynt, Op. 23, is the incidental music to Henrik Ibsen's 1867 play Peer Gynt, written by the Norwegian composer Edvard Grieg in 1875. It premiered along with the play on 24 February 1876 in Christiania (now Oslo). Grieg later created two suites from his Peer Gynt music. Some of the music from these suites has received coverage in popular culture.

Peer Gynt, Op. 23, is the incidental music to Henrik Ibsen's 1867 play Peer Gynt, written by the Norwegian composer Edvard Grieg in 1875. It premiered along with the play on 24 February 1876 in Christiania (now Oslo). Grieg later created two suites from his Peer Gynt music. Some of the music from these suites has received coverage in popular culture.

Peer Gynt, Op. 23, is the incidental music to Henrik Ibsen's 1867 play Peer Gynt, written by the Norwegian composer Edvard Grieg in 1875. It premiered along with the play on 24 February 1876 in Christiania (now Oslo). Grieg later created two suites from his Peer Gynt music. Some of the music from these suites has received coverage in popular culture.

The Piano Concerto in A minor, Op. 16, composed by Edvard Grieg in 1868, was the only concerto Grieg completed. It is one of his most popular works, and is among the most popular of the genre. Grieg was only 24 years old at the time of the composition. A typical performance of the concerto is about 30 minutes.

The following is a sortable list of compositions by Edvard Grieg (1843–1907). The works are categorized by genre, catalogue number, date of composition and titles. Catalogue numbers (Cat. No.) of compositions by Edvard Grieg include, according to the catalogue compiled by Dan Fog and the Edvard Grieg Committee: Opus numbers (Op.) 1–74 EG numbers (EG) 101–181, for works with no assigned opus number

Sigurd Jorsalfar is a work of incidental music composed by Edvard Grieg for a play by Bjørnstjerne Bjørnson celebrating King Sigurd I of Norway. Published as Op. 22, it was first performed in Christiania on 10 April 1872. An orchestral suite compiled by Grieg from the main work and published as Op. 56 was premiered in Oslo on 5 November 1892 and revised by the composer the same year. The full work consists of nine parts; five are purely orchestral, and four are scored for tenor or baritone, male chorus, and orchestra. Three of the instrumental pieces comprise the suite. The first of these, entitled "In the King's Hall", is a prelude in ternary form which opens with a bassoon and clarinet theme played against plucked strings. The musical material of the exterior sections comes from the trio of a gavotte for piano that Grieg composed in 1867 and left unpublished. The second, "Borghild's Dream", is an intermezzo contrasting a sensitive string melody with an agitated section. The third, "Homage March", opens with trumpet fanfares before presenting its main subject, a martial theme, on four cellos. The middle part, again a trio, is dominated by a melody for the first violins; the work ends with a recapitulation of the movement's first section.