{"id":108069,"date":"2025-10-03T07:00:00","date_gmt":"2025-10-03T14:00:00","guid":{"rendered":"https:\/\/www.allclassical.org\/?p=108069"},"modified":"2026-01-14T10:55:14","modified_gmt":"2026-01-14T18:55:14","slug":"monster-music-halloween","status":"publish","type":"post","link":"https:\/\/www.allclassical.org\/monster-music-halloween\/","title":{"rendered":"Monster Music: 5 Petrifying Pieces for Halloween"},"content":{"rendered":"\n<p>Fall is finally here, and with it comes a supernatural delight for all things spooky. Fellow Halloween lovers might remember the <a href=\"https:\/\/icanradio.org\/blog\/monster-music\/\" target=\"_blank\" rel=\"noreferrer noopener\">Monster Music post on our ICAN blog<\/a>. This year, we wanted to add to the fun with more surprisingly sinister songs to bring the monsters out of hiding. Read on for some ghostly recommendations, and be sure to tune in to All Classical Radio in October for even more mysterious music.<\/p>\n\n\n\n<div style=\"height:40px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<h2 class=\"wp-block-heading\">Sonata in G Minor, \u201cDevil\u2019s Trill\u201d by Giuseppe Tartini<\/h2>\n\n\n\n<p>To start our list, we have a deceptively beautiful piece, <em>Sonata in G minor \u201cDevil\u2019s Trill.\u201d<\/em> No one would blame you if you didn\u2019t know the tale behind its creation. Legend tells of a long, restless night, in which Giuseppe Tartini dreamt of the devil himself appearing at his bedside. The devil offered to be his servant and teacher, and Tartini sagely handed the devil a violin to test his skill. Tartini claims that the devil played so passionately and with such intensity that when he awoke, he couldn\u2019t help but rush to the table to try to transcribe it.<\/p>\n\n\n\n<p>It is said that what we\u2019re left with is but a shadow of the devil\u2019s piece, but it\u2019s hard to imagine how it could be improved upon. Each of the sonata\u2019s four movements has a distinct sound, and transitions from long languid lines to fiendishly difficult arpeggiated triads.<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Ray Chen Tartini Devil&#039;s Trill Sonata arr. Kreisler\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/orWePX13N3M?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe> \n<\/div><\/figure>\n\n\n\n<div style=\"height:40px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<h2 class=\"wp-block-heading\">\u201cDream of a Witches\u2019 Sabbath\u201d from Symphonie Fantastique by Hector Berlioz<\/h2>\n\n\n\n<p>A superb example of programmatic music , (music used to tell a story or depict an idea) <em>Symphonie Fantastique<\/em> tells the story of an artist tortured by unrequited love. In the depths of his despair, he attempts to poison himself with opium. What ensues is a transcendental nightmare as the artist journeys through his own drug-fueled hallucinations, coming to an end with this masterful scene. The artist can only watch as his beloved joins the witches in their vulgar display and dances to Berlioz\u2019s parody of the \u201cDies Irae.\u201d Incandescently beautiful and frighteningly hellish, Berlioz\u2019s final movement is the perfect backdrop for a ghostly October evening.<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Berlioz: Symphonie fantastique \u2013 V. (Dream of a Witches\u2019 Sabbath) \u2013 London Philharmonic Orchestra\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/N_IuVEYTJwA?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe> \n<\/div><\/figure>\n\n\n\n<div style=\"height:40px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<h2 class=\"wp-block-heading\">\u201cCatacombs\u201d from Pictures at an Exhibition by Modest Mussorgsky<\/h2>\n\n\n\n<p>In 1868, composer Modest Mussorgsky was introduced to Victor Hartmann, a Russian architect and painter. Mussorgsky was inspired by one of his exhibitions to create a piano suite in ten movements, aptly titled <em>Pictures at an Exhibition<\/em>. The eighth movement, \u201cCatacombs,\u201d had a note scrawled in the margins, \u201ccum mortuis in lingua mortua.\u201d Translated from Latin, it means \u201cWith the dead in a dead language.\u201d<\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"alignleft size-large is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"660\" height=\"495\" src=\"https:\/\/acp-website.s3.us-west-2.amazonaws.com\/uploads\/2025\/10\/Hartmann_Paris_Catacombs-660x495.jpg\" alt=\"\" class=\"wp-image-108083\" style=\"width:548px;height:auto\" srcset=\"https:\/\/acp-website.s3.us-west-2.amazonaws.com\/uploads\/2025\/10\/Hartmann_Paris_Catacombs-660x495.jpg 660w, https:\/\/acp-website.s3.us-west-2.amazonaws.com\/uploads\/2025\/10\/Hartmann_Paris_Catacombs-300x225.jpg 300w, https:\/\/acp-website.s3.us-west-2.amazonaws.com\/uploads\/2025\/10\/Hartmann_Paris_Catacombs-768x575.jpg 768w, https:\/\/acp-website.s3.us-west-2.amazonaws.com\/uploads\/2025\/10\/Hartmann_Paris_Catacombs-425x318.jpg 425w, https:\/\/acp-website.s3.us-west-2.amazonaws.com\/uploads\/2025\/10\/Hartmann_Paris_Catacombs-624x467.jpg 624w, https:\/\/acp-website.s3.us-west-2.amazonaws.com\/uploads\/2025\/10\/Hartmann_Paris_Catacombs.jpg 828w\" sizes=\"auto, (max-width: 660px) 100vw, 660px\" \/><figcaption class=\"wp-element-caption\"><em>Paris Catacombs<\/em> (with the figures of V. A. Hartmann, V. A. Kenel, and a guide holding a lantern)<\/figcaption><\/figure>\n<\/div>\n\n\n<p>A haunting and somber piece, it features a sparse accompaniment, largely alternating between block chords, that help evoke the grand stillness of the Paris catacombs. The striking dynamic contrasts throughout echo with a melancholy that leaves the listener holding their breath, wondering what will come next.<\/p>\n\n\n\n<div style=\"height:20px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Valerian Shiukashvili M. mussorgsky PICTURES AT AN EXHIBITION - Catacombs  ( Sepulichrum Romanum )\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/0Gj9PQTXogc?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe> \n<\/div><\/figure>\n\n\n\n<div style=\"height:40px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<h2 class=\"wp-block-heading\">Mephisto Waltz No. 1 by Franz Liszt<\/h2>\n\n\n\n<p>The<em> Mephisto Waltzes<\/em> are four waltzes composed by Franz Liszt. \u201cWaltz No. 1\u201d is the most popular of the four, and it\u2019s not hard to see why. Another wonderful example of programmatic music, it tells of a wedding feast at a village inn. Faust, from Nikolaus Lenau&#8217;s 1836 verse drama <em>Faust<\/em>, is tempted by Mephistopheles to join in the festivities. Throughout the night, Faust gets carried away dancing with the village beauty, and together they dance away into the night. This vibrant piece features dramatic, syncopated lines contrasted with relaxed, sensual passages. For those of us who don\u2019t mind a midnight tryst, this waltz is sure to have you on your feet.<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Mephisto - Waltz No.1\" width=\"500\" height=\"375\" src=\"https:\/\/www.youtube.com\/embed\/rF2mJniRwCA?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<div style=\"height:40px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<h2 class=\"wp-block-heading\">Toccata and Fugue in D Minor by Johann Sebastian Bach<\/h2>\n\n\n\n<p>Of course, no monster music list is ever complete without the addition of Bach\u2019s iconic<em> Toccata and Fugue in D Minor<\/em>. While its origins may be disputed, the profound cultural effect it has had can\u2019t be argued. Its first use in film was in<em> Dr. Jekyll and Mr. Hyde<\/em> (1931). Since then, it has been played in countless other films, such as Disney\u2019s<em> Fantasia<\/em>, the 1962 version of <em>The Phantom of the Opera<\/em>, and even comedies such as <em>Zoolander 2<\/em>. Long associated with the horror genre, this piece is truly the only way to welcome the Halloween season and invite all the monsters to come and play.<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"J.S. Bach : Toccata and Fugue in D minor BWV 565 \/ Liene Andreta Kalnciema live at Riga Cathedral\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/erXG9vnN-GI?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe> \n<\/div><\/figure>\n\n\n\n<div style=\"height:40px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<h2 class=\"wp-block-heading\">More Spooky Tunes and Tales:<\/h2>\n\n\n\n<ul class=\"wp-block-list\">\n<li><a href=\"https:\/\/icanradio.org\/blog\/monster-music\/\" data-type=\"link\" data-id=\"https:\/\/icanradio.org\/blog\/monster-music\/\" target=\"_blank\" rel=\"noreferrer noopener\">Monster Music<\/a> (on icanradio.org)<\/li>\n\n\n\n<li><a href=\"https:\/\/www.allclassical.org\/the-sounds-of-fear\/\" data-type=\"link\" data-id=\"https:\/\/www.allclassical.org\/the-sounds-of-fear\/\" target=\"_blank\" rel=\"noreferrer noopener\">The Sounds of Fear: 10 Scary Horror Film Scores<\/a><\/li>\n\n\n\n<li><a href=\"https:\/\/www.allclassical.org\/boo-a-halloween-special\/\" data-type=\"link\" data-id=\"https:\/\/www.allclassical.org\/boo-a-halloween-special\/\" target=\"_blank\" rel=\"noreferrer noopener\">Boo! A Halloween Special<\/a><\/li>\n<\/ul>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n","protected":false},"excerpt":{"rendered":"<p>Fall is finally here, and with it comes a supernatural delight for all things spooky. Fellow Halloween lovers might remember the Monster Music post on our ICAN blog. This year, we wanted to add to the fun with more surprisingly sinister songs to bring the monsters out of hiding. Read on for some ghostly recommendations, &#8230; <\/p>\n","protected":false},"author":165,"featured_media":108070,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[4044],"tags":[],"class_list":["post-108069","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-playlist"],"acf":[],"publishpress_future_action":{"enabled":false,"date":"2026-05-21 04:09:17","action":"change-status","newStatus":"draft","terms":[],"taxonomy":"category","extraData":[]},"publishpress_future_workflow_manual_trigger":{"enabledWorkflows":[]},"_links":{"self":[{"href":"https:\/\/www.allclassical.org\/wp-json\/wp\/v2\/posts\/108069","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.allclassical.org\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.allclassical.org\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.allclassical.org\/wp-json\/wp\/v2\/users\/165"}],"replies":[{"embeddable":true,"href":"https:\/\/www.allclassical.org\/wp-json\/wp\/v2\/comments?post=108069"}],"version-history":[{"count":10,"href":"https:\/\/www.allclassical.org\/wp-json\/wp\/v2\/posts\/108069\/revisions"}],"predecessor-version":[{"id":108168,"href":"https:\/\/www.allclassical.org\/wp-json\/wp\/v2\/posts\/108069\/revisions\/108168"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.allclassical.org\/wp-json\/wp\/v2\/media\/108070"}],"wp:attachment":[{"href":"https:\/\/www.allclassical.org\/wp-json\/wp\/v2\/media?parent=108069"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.allclassical.org\/wp-json\/wp\/v2\/categories?post=108069"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.allclassical.org\/wp-json\/wp\/v2\/tags?post=108069"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}