Grieg, who rose to fame in 1867 with his Piano Concerto in A minor, Op. 16, composed this collection from that year until 1901. As it was composed throughout his life, it reflects the entirety of Grieg's style, pianism, and their evolution, making it a central work among his compositions.

Each piece is a light miniature, lasting approximately one to six minutes, and was widely enjoyed primarily in salons and homes rather than for stage performances. All pieces are titled, expressing a single emotion, mood, or scene for each.

The first collection was published in 1867, but due to Grieg's busy schedule with piano, composition, and conducting, the second collection was released 16 years later. Collections two through ten were composed consecutively with certain intervals. The complete collection comprises 10 volumes, containing a total of 66 pieces.

Grieg: Lyric Pieces, Book V / Lyriske smastykker No.5 op.54

Published in 1891, this fifth collection boasts a level of perfection that places it among the pinnacles of the Lyric Pieces, and it achieved great success upon its publication. Compared to other collections, it exhibits a stronger Norwegian national character, and its musical language is further refined.

Furthermore, in 1903, Grieg arranged "Norwegian Peasant March," "March of the Trolls," "Notturno," and "Bell Ringing" for orchestra. However, these arrangements, contrary to Grieg's intentions, were not satisfactory. Later, he replaced "Bell Ringing" with "Shepherd Boy" and compiled these into the Lyric Suite. This, too, is likely one of Grieg's masterpieces, showcasing his brilliant talent for orchestration.

• Shepherd Boy / op.54-1 "Gjaetergutt": From the introduction, a flute-like melody repeats multiple times, resonating with a melancholic air. The middle section slightly increases in tempo, gradually ascending with chromatic descents, revealing a harmonic expansion. After building up to ff, it continues back down to pp. The beauty, reminiscent of a painted landscape, extends to the refined sound of the final chord.
• Norwegian Peasant March / op.54-2 "Gangar": "Gangar" means "walking dance," characterized by a continuous walking tempo and rhythm. A popular piece. It has a dynamic range from ppp to fff, which should be calculated and effectively performed with this in mind. One can enjoy changes in timbre according to the dynamics, such as bright, sparkling notes in the high register and resonant, rich sounds in sections frequently using octaves.
• March of the Trolls / op.54-3 "Trolltog": This is one of Grieg's most popular and representative works within his Lyric Pieces, widely performed as an encore piece in concerts even in recent years. Beginning with a light, staccato, eerie theme, the scratching 32nd notes will likely excite listeners. The atmosphere completely changes in the middle section. This middle section, full of love and brilliance, free and at times mischievous, is also very charming, and its contrast with the preceding and following sections is highly effective.
• Notturno / op.54-4 "Notturno": This piece is also one of the famous works that further enhanced Grieg's popularity. The left-hand accompaniment, with its ambiguous sense of meter due to ties, is what provides the piece with its driving force. The melody is three-dimensional, requiring a very delicate ear and a sense of balance to perceive space. The middle section, imitating bird calls, adds brilliance to the piece's tranquility.
• Scherzo / op.54-5 "Scherzo": A technically demanding work with highly attractive, undulating harmonies and melodies. In contrast to the main section's dizzying, playful atmosphere, the middle section features a lovely, gentle melody adorned with ornaments. The melody played in the high register with Grieg's characteristic sparkling sound is somewhat melancholic yet beautiful.
• Bell Ringing / op.54-6 "Klokkeklang": This piece exhibits a unique character among Grieg's works. It is impressionistic, and its use of dynamics is also experimental. From the beginning, sounds of bells of different sizes seem to emerge; one marks the rhythm, while the other carries the melody. The volume is suppressed for a very long time, possessing a dynamic range from ppp to fff. To create a rich timbre, the use of the body during keystrokes is crucial.