Edvard Grieg composed In the Hall of the Mountain King in 1875, as incidental music for Henrik Ibsen’s play Peer Gynt. Incidental music supports action on stage, rather than standing alone. The piece later became part of Peer Gynt, Suite No. 1.

In the story, Peer enters a dream-like hall ruled by a troll king. An orchestra creates this mysterious scene through timbre, or tone colour, and texture, the way sounds combine. At first, cellos, double basses and bassoons play the repeated theme quietly in a low register. This musical idea is like an ostinato, returning to be recognised.

As the music develops, the tempo increases and dynamics grow louder in a crescendo. The pitch rises, instruments change, and layers become more crowded, suggesting trolls gathering and rushing closer. Eventually the sound becomes prestissimo, meaning extremely fast, and frenetic, or wildly energetic. Listening helps pupils recall the theme and describe how musical choices create atmosphere.