Edvard Grieg

NAME Edvard Hagerup Grieg (1843–1907). His family name was originally spelled “Greig”, reflecting his Scottish ancestry.

WHAT FAMOUS FOR Grieg is remembered as Norway’s greatest composer, renowned for incorporating Norwegian folk music into classical forms and for works such as the Piano Concerto in A Minor and the incidental music to Henrik Ibsen’s Peer Gynt.

BIRTH Edvard Grieg was born on June 15, 1843, in Bergen, Norway. He was born in his family's house at Strandgaten 152 in Bergen.

FAMILY BACKGROUND Grieg came from a prosperous merchant family with Scottish roots. His great-grandfather Alexander Greig (later changed to Grieg) emigrated from Cairnbulg near Aberdeen, Scotland, to Norway in the 1770s following the Battle of Culloden. The family established a successful business trading in dried fish and lobster across the North Sea. His father, Alexander Grieg, was a wealthy merchant and served as the British consul in Bergen. His mother, Gesine Hagerup, came from a well-established Norwegian family and was an accomplished pianist and music teacher who had studied at the music conservatory in Hamburg. She was Edvard’s first piano teacher and played a crucial role in his musical development.

CHILDHOOD Edvard was the fourth of five children, with siblings John (born 1840), Maren (born 1837), Ingeborg Benedicte (born 1838), and Elisabeth (born 1845).  He was a small, delicate child who preferred the solitude of music and nature to the boisterous activities of his peers. 

From an early age, he showed remarkable musical talent and could sit at the piano for hours exploring different sounds. He began formal piano lessons with his mother at age six. Grieg recalled the joy of discovering chord progressions: "When I had discovered this my rapture knew no bounds. That was a success! Nothing since has been able to elate me so profoundly as this". However, he was an undisciplined student who preferred improvising to playing etudes. (1)

EDUCATION Grieg's formal education began at Tank's Upper Secondary School in 1853, where he was deeply unhappy. He frequently skipped classes and was known to stand in the rain until soaked so he would be sent home. 

In 1858, the celebrated Norwegian violinist Ole Bull, who was connected to the family, heard the fifteen-year-old Edvard Grieg play and persuaded his parents to send him to the Leipzig Conservatory in Germany. Grieg studied there from 1858 to 1862, taking piano with Ignaz Moscheles and composition with Carl Reinecke. The training gave him a strong technical foundation, but he found the conservatory’s conservative outlook stifling and soon grew disillusioned with its rigid methods. The experience reinforced his determination to pursue his own artistic direction and to cultivate a more personal, nationalistic voice in music.

At Leipzig, Grieg also encountered the works of Schumann and other Romantic composers, whose influence left a deep mark on his developing style. Yet the intensity of his studies took a heavy toll—he worked so long and so hard that his fragile health collapsed, leaving him with lasting lung problems that would trouble him throughout his life.

CAREER RECORD 1861: Grieg made his debut as a concert pianist in Karlshamn, Sweden.

1862: He finished his studies at the Leipzig Conservatory and gave his first concert in Bergen, Norway, including Beethoven's Pathétique sonata.

1863: Grieg moved to Copenhagen and began associating with Danish composers and the Norwegian nationalist composer Rikard Nordraak.

1864: Co-founded the Euterpe Society in Copenhagen, dedicated to Scandinavian music.

1866: Settled in Christiania (now Oslo), Norway, working as a composer, pianist, and conductor.

1874: Received an annual stipend from the Norwegian government, enabling him to focus on composition.

1880-1882: Served as conductor of the Bergen Philharmonic Orchestra.

1906: Undertook his final concert tour in England and received an honorary doctorate from Oxford University

APPEARANCE Grieg was a small, slight man with a mop of unruly hair never weighing more than 110 pounds.. He had a distinctive face with a prominent nose and penetrating blue eyes. His delicate features gave him a somewhat elfin or faun-like appearance, a quality that many of his contemporaries noted. As he grew older, his hair and beard turned white, giving him a more venerable, grandfatherly look.

Russian composer Tchaikovsky, who met him in 1888, described him as "a very short, middle-aged man, exceedingly fragile in appearance, with shoulders of unequal height, fair hair brushed back from his forehead, and a very slight, almost boyish, beard and moustache". (2)

At the piano he sometimes sat on a volume of Beethoven sonatas to improve his posture.

As he grew older, his hair and beard turned white, giving him a more venerable, grandfatherly look.

His health problems from tuberculosis had left him with considerable deformity to his thoracic spine and a destroyed left lung.

Edvard Grieg (1891), portrait by Eilif Peterssen

FASHION Grieg’s fashion was generally conservative and respectable. He dressed in the formal attire of a 19th-century gentleman, often wearing a dark suit with a waistcoat and tie. For performances, he would don a white tie and tails. His fashion choices were not extravagant, reflecting his modest and unpretentious character. He seemed to prefer comfort and practicality over high fashion

CHARACTER  Grieg was a man of contrasts—warm and patriotic, modest yet quietly determined. Those who knew him described a sweet and gentle nature tempered by a prickly edge and a sharp, witty tongue. He could be both poetical and practical, pessimistic yet hopeful, a combination that made him at once approachable and enigmatic. Tchaikovsky called him “childishly simple and without guile,” while others noted his keen political awareness and grounded views. (2)

In his work, Grieg’s meticulousness was legendary: he drafted and redrafted scores in lead pencil, erasing and perfecting each line until it met his exacting standards. Though frail in health, his ambition and determination drove him to tour and compose relentlessly, often at great physical cost.

Socially, he was reserved and shy in large gatherings, but among close friends he revealed a lively sense of humor and a mischievous streak. He was deeply sensitive and vulnerable to bouts of depression and anxiety, particularly about his health, yet he remained fiercely proud of his Norwegian heritage. At the same time, he was cosmopolitan in spirit, traveling widely and engaging with Europe’s cultural and intellectual elite. 

SPEAKING VOICE Grieg's speaking voice was gentle and soft. He spoke with a clear Bergen accent and was fluent in several languages, including Norwegian, Danish, German, French, and English, which he learned from his British father's side of the family.

SENSE OF HUMOUR Grieg had wit and could be sharp-tongued when the situation demanded it. For instance "In the Hall of the Mountain King," written as incidental music for Act II, Scene 6 of Peer Gynt, was intended as a parody, but the piece later became one of his most famous works—much to his irritation. Grieg dismissed it with biting humor, saying it “so reeks of cowpats, Norwegian ultra-nationalism and insularity that I can’t bear to listen to it.” (3)

His letters and diaries are peppered with humorous observations and clever remarks. One famous anecdote tells of Grieg’s playful exchange with Franz Liszt. Liszt, a towering figure in music, was known for his imposing presence, and Grieg, being much smaller, once joked that he felt like a mosquito next to a giant.

RELATIONSHIPS On June 11, 1867, Grieg married his first cousin, Nina Hagerup (1845-1935), a lyric soprano. Their wedding took place at the Church of St John in Copenhagen, Denmark.

Their marriage was initially opposed by both families due to concerns about Grieg's ability to support a family as an artist. Nina became his most important musical collaborator and the inspiration for many of his songs. Their only child, Alexandra, was born on April 10, 1868, but tragically died of meningitis on May 21, 1869, at just 13 months old. 

The couple experienced marital difficulties and separated for six months in 1883, but ultimately reconciled. Nina often accompanied Grieg on his concert tours and was considered the definitive interpreter of his songs.

Grieg and Nina Hagerup (Grieg's wife and first cousin) in 1899

MONEY AND FAME In 1874, Grieg was awarded an annual artist's salary from the Norwegian government, allowing him to focus on composition without teaching or conducting. By 1885, he was famous throughout Europe and received an annual pension from Norway. His music became immensely popular worldwide by the turn of the century, performed not only in concert halls but in cafés and restaurants everywhere. This commercial success provided him financial security and allowed him to build his beloved home Troldhaugen.

FOOD AND DRINK Grieg enjoyed simple, hearty Norwegian food. He was particularly fond of traditional dishes from his home region of Bergen. Grieg also appreciated the cuisine of his travels, particularly during his stays in Rome and other European cities

He was a moderate drinker, enjoying wine and aquavit, a traditional Scandinavian spirit, but was not known for overindulgence.

COMPOSING CAREER Edvard Grieg’s composing career was one of those rare things in music: a national project that somehow managed to become universal. He made Norway sound like itself, and in the process convinced the rest of the world that they rather liked the place too. His music is steeped in folk idioms and lyrical Romanticism, but it never feels parochial. Instead, it comes across as warm, melodic, and—as countless concertgoers would agree—endlessly hummable.

Grieg began like most young composers, with a symphony (which he later withdrew, declaring that “it should never be performed”), and a piano sonata in E minor in 1865. The real breakthrough came in 1868 with the Piano Concerto in A minor, a work of such irresistible charm that it instantly became—and remains—his calling card. Around the same time, he produced chamber music of real staying power: three violin sonatas and a cello sonata, all brimming with youthful confidence and Norwegian character.

Grieg was among the first to pull Norway’s folk rhythms and melodies into the concert hall and make them sound like they belonged there. Works such as Norwegian Dances (1880), the piano collection Lyric Pieces (which eventually ran to ten volumes and 66 pieces), and the Holberg Suite (1884) show how he could turn fiddlers’ tunes into art music without losing their rustic bite. His Funeral March for Rikard Nordraak (1866) revealed that even in mourning he was still thinking in distinctly Norwegian musical terms.

Then came Peer Gynt. Commissioned by Henrik Ibsen in 1874, Grieg initially dragged his feet but ended up producing nearly 90 minutes of incidental music that has since taken on a life of its own. Morning Mood has been used in everything from cartoons to coffee commercials, while In the Hall of the Mountain King—which Grieg himself disliked intensely—has become practically shorthand for “something sneaky is happening.” In later years he turned out the Symphonic Dances (1896–1898) and the Lyric Suite, further proving he hadn’t run out of melodic invention.

Less well known but equally important are Grieg’s 170-plus songs, often set to texts by Norwegian poets like Bjørnson, Vinje, and Garborg. The song cycle Haugtussa (1890s) is a standout: a miniature drama of love and loss that shows Grieg at his most tender and intimate.

By the time of his death in 1907, Grieg had done something extraordinary: he had given Norway a musical identity and sold it to the world. His music is still performed everywhere, his piano miniatures are still taught to eager students, and his Piano Concerto remains a rite of passage for soloists. Grieg proved that you could be fiercely local and still speak to everyone—a lesson countless composers after him have tried, and mostly failed, to learn.

MUSIC AND ARTS Aside from composing, Grieg was a skilled pianist. He made some of the earliest gramophone recordings of piano music, which, though scratchy, demonstrate his artistry.

Grieg's musical style was deeply rooted in Norwegian folk traditions, which he masterfully incorporated into classical forms. He developed a distinctive harmonic language using church modes and traditional Norwegian scales. His friendship with Henrik Ibsen led to the composition of the Peer Gynt suites. He greatly admired Schumann's music and was influenced by the German Romantic tradition while creating his own Norwegian voice. Franz Liszt became an important supporter, praising Grieg's violin sonata and piano concerto. Grieg maintained close relationships with many prominent musicians of his era, including Tchaikovsky, who highly valued his work.

Beyond music, he had a great appreciation for all the arts, including painting and sculpture, and was a close friend to many artists and writers of his time.

LITERATURE Grieg was an avid reader and had a profound appreciation for literature. His most notable literary relationship was with the playwright Henrik Ibsen. Grieg's incidental music for Peer Gynt is a masterpiece of musical-literary collaboration. He also set to music the poetry of many writers, including Bjørnstjerne Bjørnson, and drew inspiration from Norse sagas and folk tales.

NATURE Nature was central to Grieg's life and music. He built a composer's hut overlooking Nordås Lake at Troldhaugen, where he found inspiration in the beautiful Norwegian landscape. He spent summers in the mountains of Hardanger, where he encountered folk music in its original setting and was inspired by the dramatic fjords and peaks. Many of his compositions, including "Morning Mood" and his Lyric Pieces, directly reflect the natural beauty of Norway's landscape.

PETS Grieg was fond of animals and is known to have had a beloved dog. He also kept a lucky frog in his pocket—a curious talisman rather than an animal companion.

HOBBIES AND SPORTS Grieg enjoyed fishing and often took fishing trips with friends, including one where he chose his burial spot. 

He was passionate about mountain walking and spent summers hiking in various parts of Norway, particularly in Jotunheimen, Møre, and Trøndelag, where he encountered authentic folk music performances. These excursions were both recreational and musically productive, as he collected folk melodies during his travels.

PHILOSOPHY & THEOLOGY Grieg's philosophical outlook was influenced by Norwegian nationalism and the Romantic movement's emphasis on individual expression and connection to nature. He believed strongly in the importance of national identity in music and saw his role as helping to establish a distinctly Norwegian musical voice.

Grieg converted to Unitarianism in 1888 during a visit to England. He was introduced to Unitarianism by Charles Harding, vice-president of the Birmingham Festival, and his wife Ada, who were members of the Unitarian Old Meeting Church in Birmingham. Like most Unitarians of his time, Grieg believed in God, the goodness of God, and the power of Jesus as an example, saying "Christ was filled by God as no one else known to me, living or dead, in the family of man."

POLITICS Grieg was a republican who supported Norwegian independence from Sweden. He was politically engaged and possessed definite ideas about governance and national identity. His 60th birthday celebration in Bergen in 1903 became an important political gathering where representatives of different parties discussed Norwegian independence.

Crowd gathered at Holmes Hotel during Grieg's 60th birthday celebration in Bergen, Flickr 

In 1905, despite being a republican, he supported the election of King Haakon VII as a symbol of Norwegian unity.

SCANDAL The most significant controversy in Grieg's personal life was his marriage to his first cousin Nina Hagerup, which was opposed by both families and considered somewhat scandalous by contemporary standards. Their temporary separation in 1883 also attracted attention, though they ultimately reconciled.

MILITARY RECORD Grieg never served in the military, being frail and musically devoted from youth.

HEALTH AND PHYSICAL FITNESS Grieg's health was permanently compromised by a severe attack of pleurisy and tuberculosis contracted at age 17 while at the Leipzig Conservatory. This left him with a destroyed left lung and considerable deformity of his thoracic spine. Throughout his life, he suffered from chronic exhaustion, frequent respiratory infections, and shortness of breath. He was frequently treated at spas and sanatoriums across Europe and was forced to limit his concert appearances due to his condition. Despite these challenges, he continued composing and performing until shortly before his death.

HOMES Grieg's primary residence was Troldhaugen, built in 1885 near Bergen on the shores of Nordås Lake. The villa was designed by his cousin, architect Schak Bull, and included a separate composer's hut where Grieg did much of his creative work. The house remains largely preserved as it was during his lifetime and is now a museum. 

Edvard Grieg Museum in Troldhaugen by Andreas Sandberg 

During his travels, he stayed with friends and in hotels, including regular visits to the home of his London publisher George Augener at Clapham Common.

TRAVEL Grieg traveled extensively throughout his career, making multiple trips to Rome (1865-66, 1869-70, 1884) where he met Franz Liszt. He toured regularly across Europ performing and conducting his works. His travels were often necessitated by his health, as doctors recommended warmer climates. 

He made several highly successful tours to England, where he was extremely popular with audiences and even performed for Queen Victoria at Windsor Castle in 1897.

DEATH Grieg died on September 4, 1907, at Bergen Municipal Hospital from heart failure at age 64. His final days were spent preparing for a concert tour to England, but his doctor forbade travel and had him admitted to hospital. His last words were reportedly "Well, if it must be so". 

The funeral drew between 30,000 and 40,000 people to the streets of Bergen. Following his wishes, his Funeral March in Memory of Rikard Nordraak was played, orchestrated by Johan Halvorsen. 

Grieg was cremated and his ashes were entombed in a mountain crypt near Troldhaugen, where Nina's ashes were later placed alongside his.

APPEARANCES IN MEDIA During his lifetime, Grieg appeared in newspapers and musical journals across Europe. He was photographed frequently and his image appeared in various publications. 

In modern times, his former home Troldhaugen has been featured in documentaries and travel programs. 

His music appears regularly in films, television, and other media, with "In the Hall of the Mountain King" being particularly popular.

A 1944 film titled Song of Norway, which, while fictionalized, was based on his life and music.

ACHIEVEMENTS Established a distinctly Norwegian voice in classical music.

Composed the world-famous Piano Concerto in A Minor and Peer Gynt suites.

Received international acclaim, praised by Franz Liszt and others.

One of the earliest composers recorded on gramophone, preserving his own playing.

His Bergen home, Troldhaugen, is now a museum dedicated to his life and work.

Sources: (1) Grieg Society (2) The Grieg Society of Scotland (3) Encyclopaedia of Trivia (4) Uudb.org