Pressing your ear to a seashell produces the ocean. Pressing your ear to a fjord produces... Grieg. (Sonata, op 7, Lyric Pieces)

Grieg always impresses me with his ability to be interesting with simple materials. His Lyric Pieces, and Sonata (op. 7) are no exception to this rule - while not overtly complex, they are able to capture a sound and color that is unique among piano writing to Grieg - they are folk sounds, sure, but crystalline and more harmonically spacious.

The Lyric Pieces are interesting in their simplicity. Each is short, and highly characterized - many are programmatic - so much so that he could have easily called these either character sketches or preludes, and either would be nearly as fitting as 'lyric pieces.' However, to do so would ignore the strength of his melodic composition. So many of these pieces are 'lyric' not in the sense that they 'could be sung,' but more in the fact that they nearly require the piano player to sing along internally to create them as emotionally resonant musical statements.

The Sonata, while far more virtuosic than the Lyric Pieces, contains many of the same elements. Simple thematic elements combine to create a form that is functional and followable, even to the average, untrained listener. The opening theme carries through to the fourth movement of the sonata, unifying the piece from end to end. The inner movements are stunning both in their lyric quality, and their ability through harmony to suggest the kind of space of emotion that Grieg intends, without imposing it upon listeners. It contrasts well with the directness of the first movement.