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 1 to 6 minutes, and was widely popular primarily in salons and homes rather than for stage performance. All pieces are given titles, and each expresses a single emotion, mood, or scene.

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 2 through 10 were composed consecutively with intervals between them. The complete set comprises 10 volumes, containing a total of 66 pieces.

Grieg: Lyric Pieces, Book X / Lyriske smastykker No.10 op.71

With the exception of "Summer's Eve" and "Puck," these pieces were composed in 1901, in a concentrated period of just under a month. Grieg was 58 years old at the time. These seven pieces, which form his final collection, are effectively arranged, allowing the listener to enjoy their variations even when performed as a complete set.

1. "Once Upon a Time" / op.71-1 "Der var engang": The first section features a nostalgic Swedish folk song, while the middle section employs a Norwegian leaping dance. In the middle section, a brilliant, high-pitched melody is heard, engaging in a splendid interplay with the bass. In performance, it is desirable to effectively express changes in tempo and nuances through dynamics.

2. "Summer's Eve" / op.71-2 "Sommeraften": A quiet piece that evokes a Nordic summer evening. Initially, faintly colored sounds gradually begin to glow, revealing a very beautiful brilliance at the f section.

3. "Puck" / op.71-3 "Smatrold": Possesses a contrasting character to the overall collection. A very light and playful melody moves elusively over a staccato accompaniment. As it is played at a considerable speed, diligent practice will be necessary for technical mastery.

4. "Forest Stillness" / op.71-4 "Skovstilhed": The two opening chords create a contrast like light and shadow. Subsequently, a gentle melody is softly sung over a continuous eighth-note accompaniment. It builds to f in a stretto, and after a slight calming, the two opening chords reappear. The tranquil atmosphere created by these two notes is striking. The melody is played gently again, but it soon breaks off, and the stretto and tranquillo sections are repeated as if in hesitation. However, it ultimately resolves to tranquillo. Finding peace, the piece concludes by fading away at ppp.

5. "Halling" / op.71-5 "Halling": A technically demanding work among Grieg's Hallings. Especially in the ff and fff sections, a rich tone with a full resonance from the piano is required. It would be beneficial to practice slowly at first, allowing the instrument to resonate. Accents are placed irregularly, which imparts a unique swing feel to the piece.

6. "Gone" / op.71-6 "Forbi": Bears the subtitle "In Memory of the Departed" and is to be played "sadly." This piece has divided opinions, with some considering it inferior to other works, while others find it the most interesting. It is also harmonically distinctive. There is a possibility that it was originally written for organ, making it very difficult to sustain notes and play legato on the piano.

7. "Remembrances" / op.71-7 "Efterklang": Quotes "Arietta," the first piece from Book I, and arranges it in a waltz style, conveying Grieg's intention to conclude the entire collection. The volume is subdued throughout, intensifying the introspective atmosphere. Each note should be cherished and played with tenderness.