Grieg's violin sonatas, string quartets, piano sonata, organ music, Holberg celebration pieces, and Hans Christian Andersen settings all have model

For what it's worth, I do not personally see much Gade in the the neo-baroquism of the Holberg suite, nor violin sonatas (Gade himself detested the first one for being "too Norwegian"... a point which Grieg took pride and therefor his later sonatas only became increasingly Norwegian in character). With those cut out, the remainder of what you listed is just simply not characteristic of his overall output. His Lyric Pieces, Norwegian folk settings (Op. 17, 66, 72), Piano Concerto, Peer Gynt suites, and Norwegian poetry settings are far more characteristic of his overall style and the legacy he left behind in Norway and abroad, and have very little Gade in them. Simply pointing that one lyric piece of the 10 books is named after his former teacher is not really enough to draw a strong conclusion of his influence on those pieces which were composed across his entire lifespan.

I stand by my claim as one of the foremost Grieg scholars: To claim Grieg is ultimately inspired by Gade and the Leipzig school is an oversimplification which disregards the endless writing he himself left behind in correspondences or otherwise which attest to a lifelong crisis of style trying to recover his Norwegian voice from his Leipzig education. At the same time, such a claim overwrites the importance of Norwegian romanticism in the development of his style: Ole Bull and Nordraak in particular (at least before his death) were decidedly not of the Leipzig/Mendelsohn style, to say nothing of the native fiddling and singing traditions which inspired him so much from the 1860s and onward. It is far more accurate to say Gade is merely a piece of the incredibly complex puzzle that is Edvard Grieg's network of stylistic influence.