Edvard Grieg wrote his Lyric Pieces (Norwegian: Lyriske stykker) from the time he was quite young until only a few years before his death, and they are striking for their creativity and originality while also being playable without an almost virtuoso technique. In their time they were the model of what later composers would attempt to compose for the masses, pieces that are practical for students in the first few years that also interest artists who play on the highest level.
The rest of the story:
In the time of Bach the term “amateur musician” often referred to members of the aristocracy who did not earn money playing and composing but who were very well trained in music and often played at a level that we today would consider very accomplished. In other words, during the Baroque Period playing music was a very serious matter, so even “amateurs” were very well trained.
Later, playing the piano became very popular for the average person:
Over time it became more and more common for many people to take piano lessons and to play for fun, and composers began to write more and more music for children, women and other people who wanted to play but who did not have the kind of technique and background of so-called “serious musicians”.
Writing for amateurs:
Edvard Grieg was one of the most successful writers of music for those who were not professional musicians. He wrote his Lyric Pieces (Norwegian: Lyriske stykker) from the time he was quite young until only a few years before his death, and they are striking for their creativity and originality while also being playable without an almost virtuoso technique. In their time they were the model of what later composers would attempt to compose for the masses, pieces that are practical for students in the first few years that also interest artists who play on the highest level.
(In the 1800s it was rare for a woman to gain a reputation as a great performer on the piano. Even then there were exceptions. Clara Schumann was very famous in her time as a top-notch performer. Today this has totally changed. Some of the finest pianists in the world are women.)
I began exploring these somewhere around the age of 10, and at this moment I am reviewing all of them, trying to pick the best and most interesting.
There are 66 short pieces in all, published in 10 volumes, and I’ll list all of them below, for those interested.
Book I, Op. 12 (composed 1866-7?; published 1867):
No. 1, Arietta
No. 2, Vals (Waltz)
No. 3, Vektersang (Watchman’s song, after Macbeth)
No. 4, Alfedans (Elves’ dance)
No. 5, Folkevise (Popular melody)
No. 6, Norsk (Norwegian melody)
No. 7, Albumblad (Albumleaf)
No. 8, Fedrelandssang (National song)
Book II, Op. 38 (composed 1883 except where noted; published 1883):
No. 1, Berceuse
No. 2, Folkevise (Folk-song)
No. 3, Melodi (Melody)
No. 4, Halling (Dance)
No. 5, Springdans (Spring dance)[1]
No. 6, Elegi (Elegy)
No. 7, Vals (Waltz, originally composed 1866; revised 1883)
No. 8, Kanon (Canon, composed ca. 1877-8?; revised 1883)
Book III, Op. 43 (composed probably 1886; published 1886; ded. Isidor Seiss):
No. 1, Sommerfugl (Butterfly)
No. 2, Ensom vandrer (Solitary traveller)
No. 3, I hjemmet (In my homeland)
No. 4, Liten fugl (Little bird)
No. 5, Erotikk (Erotikon)
No. 6, Til våren (To spring)
Book IV, Op. 47 (composed 1886-8 except where noted; published 1888):
No. 1, Valse-Impromptu
No. 2, Albumblad (Albumleaf)
No. 3, Melodi (Melody)
No. 4, Halling
No. 5, Melankoli (Melancholy)
No. 6, Springtanz (Spring dance,[1] composed 1872?; revised 1888)
No. 7, Elegi (Elegy)
Book V, Op. 54 (composed 1889–91; published 1891; Nos. 1–4 later orchestrated as Lyric Suite):
No. 1, Gjetergutt (Shepherd’s boy)
No. 2, Gangar (Norwegian march)
No. 3, Trolltog (March of the Dwarfs)
No. 4, Notturno (Nocturne)
No. 5, Scherzo
No. 6, Klokkeklang (Bell ringing)
Book VI, Op. 57 (composed 1890?–3; published 1893):
No. 1, Svundne dager (Vanished days)
No. 2, Gade
No. 3, Illusjon (Illusion)
No. 4, Geheimniss (Secret)
No. 5, Sie tanzt (She dances)
No. 6, Heimweh (Homesickness)
Book VII, Op. 62 (composed 1893?–5; published 1895):
No. 1, Sylfide (Sylph)
No. 2, Takk (Gratitude)
No. 3, Fransk serenade (French serenade)
No. 4, Bekken (Brooklet)
No. 5, Drømmesyn (Phantom)
No. 6, Hjemad (Homeward)
Book VIII, Op. 65 (composed 1896; published 1897):
No. 1, Fra ungdomsdagene (From early years)
No. 2, Bondens sang (Peasant’s song)
No. 3, Tungsinn (Melancholy)
No. 4, Salong (Salon)
No. 5, I balladetone (Ballad)
No. 6, Bryllupsdag på Troldhaugen (Wedding Day at Troldhaugen)
Book IX, Op. 68 (composed 1898-9; published 1899; Nos. 4 and 5 were orchestrated in 1899):
No. 1, Matrosenes oppsang (Sailor’s song)
No. 2, Bestemors menuet (Grandmother’s minuet)
No. 3, For dine føtter (At your feet)
No. 4, Aften på højfjellet (Evening in the mountains)
No. 5, Bådnlåt (At the cradle)
No. 6, Valse mélancolique (Melancholy waltz)
Book X, Op. 71 (composed and published 1901):
No. 1, Det var engang (Once upon a time)
No. 2, Sommeraften (Summer’s eve)
No. 3, Småtroll (Puck)
No. 4, Skogstillhet (Peace in the woods)
No. 5, Halling
No. 6, Forbi (Gone)
No. 7, Efterklang (Remembrances)
I have tried to play a few of these pieces. They are interesting, but I found them to be challenging.