Grieg, who rose to fame in 1867 with his Piano Concerto in A minor, Op. 16, composed this collection of works from that year until 1901. As they were composed throughout his life, they reflect the entirety of Grieg's style, pianism, and its evolution, making them a central part of his oeuvre.

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 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 his busy schedule with piano, composition, and conducting, the second collection was not released until sixteen years later. Collections 2 through 10 were subsequently composed at regular intervals. The complete set comprises 10 volumes and a total of 66 pieces.

Grieg: Lyric Pieces, Book VI / Lyriske smastykker No.6 op.57

Composed and published in Menton, France, in 1893, when Grieg was 50 years old. This sixth collection contains many pieces that tend to have the atmosphere of traditional European salons. Furthermore, pieces with titles evoking nostalgia for the past begin to appear frequently, and the musical character becomes increasingly somber.

• Past Days / op.57-1 "Svundene dage": An A-B-A form piece with a narrative character. The heavy, lamenting dotted-rhythm motif that appears at the beginning of the A section in D minor recurs throughout the piece, with variations in note values, rhythm, and key. In sections where the right hand plays continuous triads, it is important to create a rich sound while paying attention to the balance of each note. Playing the melodic line in octaves with the left hand requires deep physical support. From the Allegro vivace, a glimpse of lively strength and brightness can be seen. In this middle section, changes in tempo, with piu lento and molto vivo, are repeated. The piece is structured with rapid tempo changes in mind. The mood darkens again, returning to the A section. After forming a climax at ff, the piece concludes as if fading away.
• Gade / op.57-2 "Gade": A piece dedicated to the Danish composer and conductor Niels W. Gade. This piece was originally titled 'Danish Idyll' and depicts a serene Danish landscape. Smooth melodies are sung alternately by the right and left hands in a duet, progressing seamlessly like a flowing stream. Overall, one should aim to create a rounded, warm tone with flexible hands.
• Illusion / op.57-3 "Illusion": Beginning with a G note with a fermata, a sorrowful melody descends as if pursuing an illusion. By particularly sustaining each sixteenth note, a lamenting emotion can be expressed. Furthermore, by being aware of where the musical energy converges within a phrase, momentum can be given to the piece.
• Secret / op.57-4 "Hemmelighed": While singing the melody softly and dolce, the underlying tension must not be lost. This tension is expressed through sustained notes and rests, so it is important to remain conscious of the sound's resonance and the silent spaces. A piece that requires mental fortitude.
• She Dances / op.57-5 "Hun danser": Although it is a waltz with a bright character, it is not vibrant but rather possesses an elegant and delicate atmosphere. Since sixteenth notes are played as chords on the second and third beats, the performance tends to become heavy and sluggish. Thorough practice will likely be necessary to play it lightly with correct touch.
• Homesickness / op.57-6 "Hjemve": The opening three notes, starting on E, are said to be derived from the sound of a goat horn heard in the Jotunheimen mountain region, which inspired Grieg. The longing for home seems to be sung poignantly, with sighs. In the middle section, the atmosphere changes completely; a sparkling, light melody with distinct notes is played in the high register, instantly tightening the piece. The piece concludes very quietly and slowly.