Edvard Grieg Popular Song Rankings [2026]

Peer Gynt Suite No. 1, Op. 46: ‘The Death of Åse’Edvard Grieg36rank/position

Death of Aase from Peer Gynt

Grieg was a Norwegian musician.

In 1874, at the request of Henrik Ibsen, a Norwegian playwright, Grieg composed incidental music for the play Peer Gynt.

The second piece, Aase’s Death, is a lament depicting Peer watching over the death of his grandmother, Aase.

Peer Gynt Suite No. 1, Op. 46: In the Hall of the Mountain KingEdvard Grieg37rank/position

Grieg - In the Hall of the Mountain King | Pianist: Yuki Kondo

The suite Peer Gynt by the Norwegian composer Edvard Grieg is part of the incidental music written for a play by the Norwegian playwright Ibsen.

In it, In the Hall of the Mountain King depicts a scene where the protagonist, Peer Gynt, is being cornered by trolls.

To heighten tension and eeriness, the piece is characterized by a structure in which the tempo and volume gradually increase.

Starting quietly and accelerating toward the climax, it brilliantly conveys a sense of impending danger.

You can also sense the influence of Norwegian folk music, revealing Grieg’s aspect as a “nationalist” composer.

It’s a perfect piece for creating a Halloween atmosphere—highly recommended for those who want to enjoy a spooky, fantastical world.

In the Hall of the Mountain King, from Peer Gynt Suite No. 1, Op. 46Edvard Grieg38rank/position

Edvard Grieg: In the Hall of the Mountain King // Nicolò Foron & London Symphony Orchestra

Part of the incidental music written by Edvard Grieg, Peer Gynt, contains In the Hall of the Mountain King, packed with Nordic folktale elements.

It evokes the eeriness of the troll world, as if you were listening to a story.

Depicting the adventurer Peer Gynt being pursued by trolls, the gradually quickening tempo and mounting intensity draw listeners in.

Premiered in 1875, it remains one of the most popular concert programs today.

Why not enjoy it on Halloween night, as if setting off on a journey to a mysterious world?

Åse’s Death from Peer Gynt Suite No. 1Edvard Grieg39rank/position

Grieg – “Peer Gynt” Suite No. 1: Åse’s Death — Karajan, Berlin Philharmonic

Incidental music composed for Henrik Ibsen’s play Peer Gynt.

The play comically depicts the tumultuous life of its protagonist, Peer Gynt—a dreamer and braggart—who travels the world and finally returns home in old age.

When Peer, having once left town, comes back to his homeland, his mother Åse is on the brink of death.

This piece is performed in the scene where Åse listens to Peer’s fanciful tales and passes away with a smile.

It is a work that conveys Peer’s profound grief at the loss of his beloved mother.

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HATSUMI

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‘Solveig’s Song’ from Peer Gynt Suite No. 2Edvard Grieg40rank/position

Grieg: Peer Gynt Suite No. 2, Op. 55-4 “Solveig’s Song”

Edvard Grieg, a Norwegian composer known as a leading figure of the national romantic school influenced by Norwegian music.

He studied under Ole Bull and Niels Gade, and although he did not become a professional performing musician, he was renowned for his formidable piano technique.

One of his representative works is “Solveig’s Song” from Peer Gynt Suite No.

2.

Beyond its poignancy and beauty, it also features mysterious melodies that evoke a sense of adventure, allowing a variety of images to unfold within a single piece.

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Ryo

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Holberg Suite, Op. 40Edvard Grieg41rank/position

Grieg / Holberg Suite: I. Prelude, Op. 40 / Performed by Kumiko Nishihata

Holberg refers to a writer known as the father of Norwegian literature.

The piece was composed by Grieg around the age of 40 for the 200th anniversary of Holberg’s birth.

Consisting of dance forms, it is a work filled throughout with Grieg’s characteristically buoyant expression.

Funeral March in Memory of Rikard Nordraak, EG 107Edvard Grieg42rank/position

Edvard Grieg – Funeral March for Rikard Nordraak

While taking the form of a funeral march, this work deftly incorporates elements of Norwegian folk music.

It consists of a weighty main section in B-flat minor and a contrasting middle section in the major key, and is characterized by Norwegian-style melodies.

The deep sorrow at the untimely death of a close friend and the respect paid to him imbue the piece with a moving quality that resonates with listeners.

Grieg himself held the work in very high esteem and wished for it to be performed at his own funeral.

It is highly recommended for those interested in music that evokes Norway’s rugged nature and national character.