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, the collection reveals the entirety of Grieg's compositional style, pianism, and their evolution, making it a central body of work within 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, 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 not released until sixteen years later. Collections two through ten were subsequently composed with intervals between them. The complete series comprises ten volumes, containing a total of 66 pieces.

Grieg: Lyric Pieces No. 7 / Lyriske smastykker No.7 op.62

Published in 1895, two years after Collection No. 6. It is sometimes evaluated as being inferior when compared to works from his peak period. Nevertheless, several pieces showcase Grieg's characteristic refined natural beauty, and a brightness, largely absent in Collection No. 6, is regained. Many pieces feature delicate expression and demand a high level of performance skill.

• Sylphe / op.62-1 "Sylphe": A waltz-like piece in 3/4 time. Phrasing that crosses bar lines, bouncy rhythmic figures with short rests, and changes in tempo and meter evoke a free and whimsical sylph. As pitches change successively, it is interesting to vary the timbre and spacing at each point.

• Thanks / op.62-2 "Tak": The melody possesses a simplicity reminiscent of the early Lyric Pieces, lending warmth and refined beauty to the work. Attention should be paid to the ascending and descending movements of notes in each voice, and continuous care should be given to the lingering sounds after the attack. Especially in the middle section and coda, where sounds build up impressively, sustained concentration is required. Since phrase lengths vary throughout, ingenuity in the use of energy and expressive nuance will be necessary at each point.

• French Serenade / op.62-3 "Fransk Serenade": Said to depict a small memory of Grieg's friend, Gerhard Schjelderup. A salon-style miniature. Over an elegant and light accompaniment, the right hand plays a rolling, somewhat coquettish rhythm that is charming.

• Brook / op.62-4 "Baekken": An impressionistic work, seemingly depicting a brook sparkling in the light and flowing ceaselessly. While modest in auditory impression, it falls into the most technically challenging category, requiring meticulous practice to achieve an even and light performance.

• Dream-Vision / op.62-5 "Drommesyn": The piece is structured within a dynamic range from p to pp, with the right-hand melody floating over the left-hand triplets. In sections where the E note is repeated multiple times, the inner harmonies change gently, creating an impressive effect. Overall, clear expression should be avoided; instead, one should aim to enjoy the delicate shifts in color that follow the harmony.

• Homeward / op.62-6 "Hjemad": One of the masterpieces, vividly portraying the world of folk music. To evoke a folk atmosphere, precise rhythm and note lengths are paramount. In the middle section, the extended thematic motif creates a tranquil atmosphere. In the latter half of the middle section, the melody is sung in the high register, with a clear, luminous timbre becoming its charm.