Q.1.
Which other of our Ten Pieces was written in the same year, and also has a deliberate air of the supernatural about it?
Q.2.
In contrast to the Mussorgsky piece, what is the basic overall musical 'shape' of this one by Grieg?
Q.3.
Which woodwind instrument first plays the theme of ... ?
Q.4.
Which of these Italian musical directions does NOT apply most of the way through the piece?
Q.5.
One of the main ways to establish 'mood' in such a piece is by the composer's technical choice of key and mode. Which of these is the appropriate label for this present work?
Q.6.
Towards 2 minutes into the piece, which percussion instrument plays repeatedly on the off-beat (to ratchet-up the overall tension further)?
Q.7.
This piece is conceived as a grotesque version of which more 'normal' form of music?
Q.8.
Grieg wrote the piece as part of a suite of 'incidental music' (like a forerunner of the film-score, or the integral accompaniment to a Broadway-style stage musical) for a play by Norway's greatest playwright, who was ~ and remains ~ well respected in his own right, and was a great friend and encourager of the composer (then in his mid-20s). Who was the dramatist?
Q.9.
Which instrument creates the dramatic rumbling sound just before the final huge chord?
Q.10.
... And which instrument/s started the whole huge piece off? (You may need to listen very carefully)