This work, like 25 Norwegian Folk Songs and Dances, Op. 17, was compiled from material drawn from Older and Newer Norwegian Mountain Melodies by L. M. Lindeman (1812–1887), a Norwegian composer, organist, and folk music collector. It was composed in 1875.

• Springar from Numedal. This is a lively dance in 3/4 time. The clear melody in the right hand is accompanied by a left-hand accompaniment that suggests a waltz form and features a series of eighth notes.
• Lullaby from Valdres. The simple melody is crafted into an understated duet where the tenor voice moves in parallel or contrary motion in thirds. This lullaby is considered one of the most well-known Norwegian folk songs.
• Springar from Vinje. This springar is harmonized with a Lydian modal flavor.
• Sjugur and the Troll Bride. This is a folk ballad from Hallingdal. The gist of the story is: “The king looked out from a balcony at the top of his palace, gazing far beyond the horizon. Oh, Sjugur is coming on horseback across the beautiful green pasture nearby. He is risking his life for his troll bride.” The opening chord is not in root position but in second inversion, and the piece is primarily written in three or four voices.
• Halling from Østerdalen. This halling is extremely lively. The ascending scales over a sustained chord are full of forward momentum, and ornamental notes, including appoggiaturas, are scattered throughout the piece.
• The Boy and Girl in the Hayloft. Grieg had already used the original of this tune in the first piece of Two Norwegian Folk Melodies, Op. 66. The boy, who begins singing first, exhibits the rhythmic characteristics of a gangar (walking dance). Furthermore, sustained notes are found not only in the bass but also subtly elsewhere. In contrast, the girl's singing style is characterized by the lively rhythm of a springar.