{"id":69511,"date":"2020-10-29T13:03:57","date_gmt":"2020-10-29T17:03:57","guid":{"rendered":"https:\/\/www.ludwig-van.com\/toronto\/?p=69511"},"modified":"2022-10-31T10:27:05","modified_gmt":"2022-10-31T14:27:05","slug":"feature-classical-music-for-a-spooky-mood","status":"publish","type":"post","link":"https:\/\/www.ludwig-van.com\/toronto\/2020\/10\/29\/feature-classical-music-for-a-spooky-mood\/","title":{"rendered":"FEATURE | Classical Music For A Creepy Halloween Mood"},"content":{"rendered":"<figure id=\"attachment_69512\" aria-describedby=\"caption-attachment-69512\" style=\"width: 1200px\" class=\"wp-caption aligncenter\"><img decoding=\"async\" loading=\"lazy\" class=\"size-full wp-image-69512\" src=\"https:\/\/www.ludwig-van.com\/toronto\/wp-content\/uploads\/sites\/2\/2020\/10\/Halloween-music-header.jpg\" alt=\"L-R: Images by Larisa Koshkina &amp; Quim Muns from Pixabay (CCOC license)\" width=\"1200\" height=\"628\" srcset=\"https:\/\/www.ludwig-van.com\/toronto\/wp-content\/uploads\/sites\/2\/2020\/10\/Halloween-music-header.jpg 1200w, https:\/\/www.ludwig-van.com\/toronto\/wp-content\/uploads\/sites\/2\/2020\/10\/Halloween-music-header-300x157.jpg 300w, https:\/\/www.ludwig-van.com\/toronto\/wp-content\/uploads\/sites\/2\/2020\/10\/Halloween-music-header-1024x536.jpg 1024w, https:\/\/www.ludwig-van.com\/toronto\/wp-content\/uploads\/sites\/2\/2020\/10\/Halloween-music-header-768x402.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\" \/><figcaption id=\"caption-attachment-69512\" class=\"wp-caption-text\">L-R: Images by Larisa Koshkina &amp; Quim Muns from Pixabay (CCOC license)<\/figcaption><\/figure>\n<p><span class=\"wpsdc-drop-cap\">M<\/span>usic is essential for setting the right mood and atmosphere for the occasion, and Halloween is no exception. For centuries, composers have been telling spooky stories with their music, and many pieces have become iconic because of their use in pop culture for that very purpose.<\/p>\n<p>We\u2019ve looked at the obvious and the more obscure, pieces both centuries old and new, to come up with a list of musical suggestions for getting into the spooky spirit of Halloween.<\/p>\n<h3><strong>Camille Saint-Sa\u00ebns \u2013 Danse Macabre<\/strong><\/h3>\n<div class=\"jetpack-video-wrapper\"><span class=\"embed-youtube\" style=\"text-align:center; display: block;\"><iframe loading=\"lazy\" class=\"youtube-player\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/TLRTS28bhMg?version=3&#038;rel=1&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;fs=1&#038;hl=en-US&#038;autohide=2&#038;start=34&#038;wmode=transparent\" allowfullscreen=\"true\" style=\"border:0;\" sandbox=\"allow-scripts allow-same-origin allow-popups allow-presentation\"><\/iframe><\/span><\/div>\n<p>Let\u2019s start with the obvious: <em>Danse Macabre<\/em>. Saint-Sa\u00ebns wrote it as one of four tone poems in the 1870s, a couple of decades after Franz Liszt&#8217;s <em>Totentanz<\/em>, which inspired his own piece. The original vocal part of the piece was modified to become solo violin, and Saint-Sa\u00ebns used the xylophone to emulate the sound of rattling bones as skeletons follow a Medieval tradition in the Dance of Death.<\/p>\n<h3><strong>Modest Mussorgsky \u2013 A Night on the Bare Mountain<\/strong><\/h3>\n<div class=\"jetpack-video-wrapper\"><span class=\"embed-youtube\" style=\"text-align:center; display: block;\"><iframe loading=\"lazy\" class=\"youtube-player\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/tu1no7hOlSs?version=3&#038;rel=1&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;fs=1&#038;hl=en-US&#038;autohide=2&#038;wmode=transparent\" allowfullscreen=\"true\" style=\"border:0;\" sandbox=\"allow-scripts allow-same-origin allow-popups allow-presentation\"><\/iframe><\/span><\/div>\n<p>Mussorgsky\u2019s seminal tone poem depicting the celebration of a witches\u2019 sabbath was made world famous when it was featured on the soundtrack for Disney\u2019s <em>Fantasia<\/em>. But, in its original orchestration, it was thought of as crude, and even Mussorgsky\u2019s mentor Miliy Balakirev refused to perform it. Despite later revisions, the piece was never performed during Mussorgsky&#8217;s too-brief lifetime. It was Rimsky-Korsakov&#8217;s orchestration and rehabilitation of his friend&#8217;s reputation that made it into the iconic work we know today.<\/p>\n<h3><strong>Franz Liszt \u2013 Totentanz<\/strong><\/h3>\n<div class=\"jetpack-video-wrapper\"><span class=\"embed-youtube\" style=\"text-align:center; display: block;\"><iframe loading=\"lazy\" class=\"youtube-player\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/ZrmaZGjWg1I?version=3&#038;rel=1&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;fs=1&#038;hl=en-US&#038;autohide=2&#038;wmode=transparent\" allowfullscreen=\"true\" style=\"border:0;\" sandbox=\"allow-scripts allow-same-origin allow-popups allow-presentation\"><\/iframe><\/span><\/div>\n<p>Franz Liszt was said to be obsessed with the strange and unusual, and he composed several works like <em>Mephisto Waltz<\/em> that explore themes of death and what might happen afterwards. His <em>Totentanz<\/em> is based on a melody from a Gregorian chant. Liszt was said to be struck by the originality of Berlioz&#8217; <em>Symphonie fantastique<\/em>, which draws from the same inspiration. Liszt combines the centuries old melody with percussive piano and a sound that was very modern for its time.<\/p>\n<h3><strong>Thomas Ad\u00e8s \u2013 Totentanz<\/strong><\/h3>\n<div class=\"jetpack-video-wrapper\"><span class=\"embed-youtube\" style=\"text-align:center; display: block;\"><iframe loading=\"lazy\" class=\"youtube-player\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/c2ZKWMBDzEA?version=3&#038;rel=1&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;fs=1&#038;hl=en-US&#038;autohide=2&#038;wmode=transparent\" allowfullscreen=\"true\" style=\"border:0;\" sandbox=\"allow-scripts allow-same-origin allow-popups allow-presentation\"><\/iframe><\/span><\/div>\n<p>Thomas Ad\u00e8s is a British composer, born in 1971. The inspiration for his <em>Totentanz<\/em> for baritone, mezzo-soprano and orchestra was commissioned to commemorate composer Witold Lutos\u0142awski and his wife Danuta, and premiered in 2013. The text comes from an anonymous writing under a 15th-century frieze in St. Mary&#8217;s Church in L\u00fcbeck, Germany which depicted all members of society from the Pope to a young baby succumbing to the dance of Death.<\/p>\n<h3>Hector Berlioz \u2013 Dream of a Witches&#8217; Sabbath &amp; March to the Scaffold from the Symphonie Fantastique<\/h3>\n<div class=\"jetpack-video-wrapper\"><span class=\"embed-youtube\" style=\"text-align:center; display: block;\"><iframe loading=\"lazy\" class=\"youtube-player\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/Q9cAyvjL9Z8?version=3&#038;rel=1&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;fs=1&#038;hl=en-US&#038;autohide=2&#038;wmode=transparent\" allowfullscreen=\"true\" style=\"border:0;\" sandbox=\"allow-scripts allow-same-origin allow-popups allow-presentation\"><\/iframe><\/span><\/div>\n<p>The premise of the <em>Symphonie fantastique: \u00c9pisode de la vie d&#8217;un artiste \u2026 en cinq parties Op. 14<\/em>, is melancholy to begin with \u2014 an artist who poisons himself with opium over a broken heart. While the attempt to kill himself fails, he experiences a series of dream-like hallucinations, culminating in viewing his own execution, and a witches\u2019 Sabbath at his funeral. Many historians suggest that at least some elements of the story are autobiographical, including the opium use. As noted by <span style=\"color: #ff0000;\"><a style=\"color: #ff0000;\" href=\"https:\/\/leonardbernstein.com\/lectures\/television-scripts\/young-peoples-concerts\/berlioz-takes-a-trip\" target=\"_blank\" rel=\"noopener noreferrer\">Leonard Bernstein<\/a><\/span>, \u201cBerlioz tells it like it is. You take a trip, you wind up screaming at your own funeral.\u201d<\/p>\n<h3><strong>John Zorn \u2013 Necronomicon<\/strong><\/h3>\n<div class=\"jetpack-video-wrapper\"><span class=\"embed-youtube\" style=\"text-align:center; display: block;\"><iframe loading=\"lazy\" class=\"youtube-player\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/dFase_pRsIs?version=3&#038;rel=1&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;fs=1&#038;hl=en-US&#038;autohide=2&#038;wmode=transparent\" allowfullscreen=\"true\" style=\"border:0;\" sandbox=\"allow-scripts allow-same-origin allow-popups allow-presentation\"><\/iframe><\/span><\/div>\n<p>The work of American composer John Zorn ranges from heavy metal and jazz to classical. Several of his classical pieces have been inspired by his fascination for mysticism and the occult\u00a0\u2014 <em>Necronomicon<\/em> is named after a book by H.P. Lovecraft. The work was released on Zorn&#8217;s 2004 album <em>Magick<\/em>. A 2009 review in the <em><span style=\"color: #ff0000;\"><a style=\"color: #ff0000;\" href=\"https:\/\/archive.nytimes.com\/query.nytimes.com\/gst\/fullpage-9F00E7DB1631F937A35757C0A96F9C8B63.html\" target=\"_blank\" rel=\"noopener noreferrer\">New York Times<\/a><\/span><\/em> describes the string quartet as &#8220;a fantastical romp with a structural integrity and clarity that assert a lineage from Bartok and Ligeti&#8221;, and &#8220;frenetic vortexes of violent, abrasive motion, separated by eerily becalmed, suspenseful sections with moody, even prayerful melodies&#8221;.<\/p>\n<h3><strong>Giuseppe Verdi \u2013 Dies Irae from Messa da Requiem<\/strong><\/h3>\n<div class=\"jetpack-video-wrapper\"><span class=\"embed-youtube\" style=\"text-align:center; display: block;\"><iframe loading=\"lazy\" class=\"youtube-player\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/cHw4GER-MiE?version=3&#038;rel=1&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;fs=1&#038;hl=en-US&#038;autohide=2&#038;wmode=transparent\" allowfullscreen=\"true\" style=\"border:0;\" sandbox=\"allow-scripts allow-same-origin allow-popups allow-presentation\"><\/iframe><\/span><\/div>\n<p>Dies Irae means &#8216;Day of Wrath\u2019, which derives from Medieval Catholic liturgy, and talks about the world ending in a day of fire and doom. Verdi captures an unsettling mood in this section in particular, which comes in the second section of the work. Verdi composed it after hearing about the death of Alessandro Manzonia, a writer whose work he admired. It was first performed on the first anniversary of Manzoni&#8217;s death on May 22, 1874.<\/p>\n<h3><strong>Dmitri Shostakovich \u2013 Allegro from Symphony No. 10<\/strong><\/h3>\n<div class=\"jetpack-video-wrapper\"><span class=\"embed-youtube\" style=\"text-align:center; display: block;\"><iframe loading=\"lazy\" class=\"youtube-player\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/C2T97GsY0nI?version=3&#038;rel=1&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;fs=1&#038;hl=en-US&#038;autohide=2&#038;wmode=transparent\" allowfullscreen=\"true\" style=\"border:0;\" sandbox=\"allow-scripts allow-same-origin allow-popups allow-presentation\"><\/iframe><\/span><\/div>\n<p>Shostakovich&#8217;s 10th Symphony premiered on 17 December 1953, about nine months after the death of Joseph Stalin. Shostakovich had been denounced twice by the Soviet regime, and many musicologists have debated whether the symphony is a musical commentary on the Stalinist era. No matter what it&#8217;s real inspiration, the second movement, the Allegro, is furious and unsettling in its effect.<\/p>\n<h3><strong>Sergei Rachmaninoff \u2013 The Isle of the Dead<\/strong><\/h3>\n<div class=\"jetpack-video-wrapper\"><span class=\"embed-youtube\" style=\"text-align:center; display: block;\"><iframe loading=\"lazy\" class=\"youtube-player\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/rBg3xY2s5GE?version=3&#038;rel=1&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;fs=1&#038;hl=en-US&#038;autohide=2&#038;wmode=transparent\" allowfullscreen=\"true\" style=\"border:0;\" sandbox=\"allow-scripts allow-same-origin allow-popups allow-presentation\"><\/iframe><\/span><\/div>\n<p>Rachmaninoff&#8217;s 1908 tone poem was written while he was in Dresden, and has since become considered as an iconic work of late Romanticism. Rachmaninoff was inspired by a black and white print of a painting by Arnold B\u00f6cklin&#8217;s also titled <em>Isle of the Dead<\/em> that he had viewed in Paris. Later, when he saw the original painting, <span style=\"color: #ff0000;\"><a style=\"color: #ff0000;\" href=\"https:\/\/www.bbc.co.uk\/music\/works\/ab65bc19-0079-31a9-9521-5f6ea4c1c637\" target=\"_blank\" rel=\"noopener noreferrer\">he was disappointed<\/a><\/span>. &#8220;If I had seen first the original, I, probably, would have not written my Isle of the Dead. I like it in black and white.&#8221;<\/p>\n<h3><strong>Franz Schubert \u2013 Der Erlk\u00f6nig<\/strong><\/h3>\n<div class=\"jetpack-video-wrapper\"><span class=\"embed-youtube\" style=\"text-align:center; display: block;\"><iframe loading=\"lazy\" class=\"youtube-player\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/13SzQCj89U8?version=3&#038;rel=1&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;fs=1&#038;hl=en-US&#038;autohide=2&#038;wmode=transparent\" allowfullscreen=\"true\" style=\"border:0;\" sandbox=\"allow-scripts allow-same-origin allow-popups allow-presentation\"><\/iframe><\/span><\/div>\n<p><em>Who rides there so late through the night dark and drear? The father it is, with his infant so dear&#8230;<\/em> The text for Schubert&#8217;s famous Lied comes from a poem by Johann Wolfgang von Goethe. It&#8217;s a father on horseback with his young son, trying to soothe his fears of being pursued by the evil Erlk\u00f6nig or Elven King. Despite the father&#8217;s attempt at escape and reassurance, however, the Erlk\u00f6nig succeeds, and when he has reached his destination, he finds that his son is dead.<\/p>\n<h3><strong>Gyorgy Ligeti \u2013 Atmosph\u00e8res<\/strong><\/h3>\n<div class=\"jetpack-video-wrapper\"><span class=\"embed-youtube\" style=\"text-align:center; display: block;\"><iframe loading=\"lazy\" class=\"youtube-player\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/RCNzwdLwA8g?version=3&#038;rel=1&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;fs=1&#038;hl=en-US&#038;autohide=2&#038;wmode=transparent\" allowfullscreen=\"true\" style=\"border:0;\" sandbox=\"allow-scripts allow-same-origin allow-popups allow-presentation\"><\/iframe><\/span><\/div>\n<p>Rhythm and tonality dissolve in Ligeti\u2019s <em>Atmosph\u00e8res<\/em>, using instead what the composer called &#8220;micropolyphonic&#8221; texture. It creates a moody and sinister sound. Ligeti dedicated the piece to another Hungarian composer who had died the year before its premiere in 1961. The piece was popularized in Stanley Kubrick&#8217;s seminal film <em>2001: A Space Odyssey<\/em> \u2014 but was used without the composer&#8217;s consent. Despite his initial hostility, Ligeti eventually came to welcome the movie&#8217;s role in making his work known around the world.<\/p>\n<h3><strong>B\u00e9la Bart\u00f3k \u2013 Music for Strings, Percussion, and Celesta<\/strong><\/h3>\n<div class=\"jetpack-video-wrapper\"><span class=\"embed-youtube\" style=\"text-align:center; display: block;\"><iframe loading=\"lazy\" class=\"youtube-player\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/HGJcsTtJ188?version=3&#038;rel=1&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;fs=1&#038;hl=en-US&#038;autohide=2&#038;wmode=transparent\" allowfullscreen=\"true\" style=\"border:0;\" sandbox=\"allow-scripts allow-same-origin allow-popups allow-presentation\"><\/iframe><\/span><\/div>\n<p>While Bartok&#8217;s intention was not to compose spooky music, his <em>Music for Strings, Percussion and Celesta<\/em> has become arguably his most popular work for that very reason. It&#8217;s been used in several films, notably Stanley Kubrick&#8217;s <em>The Shining<\/em>, and even a couple of episodes of <em>Doctor Who<\/em>. Many musicologists point to the piece&#8217;s unique instrumentation as the basis for its singular sound, which was considered to be cutting edge at its premiere in 1936.<\/p>\n<h3><strong>Lowell Liebermann \u2013 Gargoyles<\/strong><\/h3>\n<div class=\"jetpack-video-wrapper\"><span class=\"embed-youtube\" style=\"text-align:center; display: block;\"><iframe loading=\"lazy\" class=\"youtube-player\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/_v7x6Z1nn-I?version=3&#038;rel=1&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;fs=1&#038;hl=en-US&#038;autohide=2&#038;wmode=transparent\" allowfullscreen=\"true\" style=\"border:0;\" sandbox=\"allow-scripts allow-same-origin allow-popups allow-presentation\"><\/iframe><\/span><\/div>\n<p>American composer Lowell Libermann wrote his suite for solo piano in 1989, and it&#8217;s become one of his most popular compositions. Inspired by cathedral gargoyles, Liebermann blends elements of tonality and avant-garde in the piece, which alternates between sinister and demonic and more playful and rambunctious moods.<\/p>\n<h3><strong>Bed\u0159ich Smetana \u2013 Macbeth and the Witches<\/strong><\/h3>\n<div class=\"jetpack-video-wrapper\"><span class=\"embed-youtube\" style=\"text-align:center; display: block;\"><iframe loading=\"lazy\" class=\"youtube-player\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/O_p_bHMJYC4?version=3&#038;rel=1&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;fs=1&#038;hl=en-US&#038;autohide=2&#038;wmode=transparent\" allowfullscreen=\"true\" style=\"border:0;\" sandbox=\"allow-scripts allow-same-origin allow-popups allow-presentation\"><\/iframe><\/span><\/div>\n<p>Smetana\u2019s piece for solo piano may be not only convey a spooky mood \u2013 it demands a virtuoso\u2019s touch, and the ability to draw out the piece&#8217;s drama and madness. The story, of course, comes from Shakespeare&#8217;s <em>Macbeth<\/em>, with its appreciation for the power of black magic and the witches who wield it. Smetana\u2019s <em>Sketches from Macbeth and the Witches<\/em> was composed for piano in 1859, a time marked by the illness and eventual death of his wife Kate\u0159ina while the family lived in Dresden, Germany.<\/p>\n<h3><strong>Giuseppe Tartini \u2013 Sonata in G minor \u2018Devil\u2019s Trill\u2019<\/strong><\/h3>\n<div class=\"jetpack-video-wrapper\"><span class=\"embed-youtube\" style=\"text-align:center; display: block;\"><iframe loading=\"lazy\" class=\"youtube-player\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/ZkX8YyA4Wp4?version=3&#038;rel=1&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;fs=1&#038;hl=en-US&#038;autohide=2&#038;wmode=transparent\" allowfullscreen=\"true\" style=\"border:0;\" sandbox=\"allow-scripts allow-same-origin allow-popups allow-presentation\"><\/iframe><\/span><\/div>\n<p>More spooky than sinister, Tartini&#8217;s <em>Violin Sonata in G minor<\/em> is more commonly known by its nickname, the <em>Devil&#8217;s Trill Sonata<\/em>. <span style=\"color: #ff0000;\"><a style=\"color: #ff0000;\" href=\"https:\/\/www.hyperion-records.co.uk\/dc.asp?dc=D_CDD22061\" target=\"_blank\" rel=\"noopener noreferrer\">Tartini&#8217;s own words<\/a><\/span> describe the piece&#8217;s inspiration. \u201cOne night I dreamt that I had made a bargain with the Devil for my soul. Everything went at my command\u2014my novel servant anticipated every one of my wishes. Then the idea struck me to hand him my fiddle and to see what he could do with it. But how great was my astonishment when I heard him play with consummate skill a sonata of such exquisite beauty as surpassed the boldest flight of my imagination. I felt enraptured, transported, enchanted; my breath was taken away; and I awoke. Seizing my violin I tried to retain the sounds that I had heard. But it was in vain. The piece I then composed, the Devil\u2019s Sonata, although the best I ever wrote, how far below the one I heard in my dream!\u201d<\/p>\n<h3><strong>Britten \u2013 The Turn of the Screw<\/strong><\/h3>\n<div class=\"jetpack-video-wrapper\"><span class=\"embed-youtube\" style=\"text-align:center; display: block;\"><iframe loading=\"lazy\" class=\"youtube-player\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/odvj84x1NS0?version=3&#038;rel=1&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;fs=1&#038;hl=en-US&#038;autohide=2&#038;wmode=transparent\" allowfullscreen=\"true\" style=\"border:0;\" sandbox=\"allow-scripts allow-same-origin allow-popups allow-presentation\"><\/iframe><\/span><\/div>\n<p>The story itself, based on a novella by Henry James of the same name, is creepy enough. It follows a young governess in an isolated country house and her new charges, who may or may not be controlled and possessed by ghosts. Britten\u2019s chamber opera features a libretto by Myfanwy Piper, and mixes elements of tonality and dissonance, along with a recurring 12-note theme. A line from the play quotes Yeats&#8217; poem <em>The Second Coming<\/em>: &#8216;The ceremony of innocence is drowned.&#8217;<\/p>\n<h3><strong>Carl Orff \u2013 O Fortuna, from Carmina Burana<\/strong><\/h3>\n<div class=\"jetpack-video-wrapper\"><span class=\"embed-youtube\" style=\"text-align:center; display: block;\"><iframe loading=\"lazy\" class=\"youtube-player\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/EJC-_j3SnXk?version=3&#038;rel=1&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;fs=1&#038;hl=en-US&#038;autohide=2&#038;wmode=transparent\" allowfullscreen=\"true\" style=\"border:0;\" sandbox=\"allow-scripts allow-same-origin allow-popups allow-presentation\"><\/iframe><\/span><\/div>\n<p>\u201cO Fortuna\u201d is a 13th-century poem that Orff set to music for one of the movements of his cantata, <em>Carmina Burana<\/em>. Since its composition in 1935-36, it has become a part of popular culture, and its powerful chorus has set the mood for any number of films and commercials. It has been covered by metal bands, used to portray Jim Morrison&#8217;s trippy drug addiction in the movie <em>The Doors<\/em>, in other movies like <em>The Hunt for Red October<\/em> and <em>Natural Born Killers<\/em>, and used to hawk everything from cars to beer. Orff even <span style=\"color: #ff0000;\"><a style=\"color: #ff0000;\" href=\"https:\/\/phoenixchorale.org\/2013\/04\/music-from-the-silver-screen-behind-the-music-part-1\/\" target=\"_blank\" rel=\"noopener noreferrer\">seemed to predict<\/a><\/span> the future popularity of his piece, telling his publisher, \u201cEverything I have written to date, and which you have, unfortunately, printed, can be destroyed. With Carmina Burana, my collected works begin.\u201d<\/p>\n<h3 class=\"western\"><em>#LUDWIGVAN<\/em><\/h3>\n<p class=\"western\"><em>Get the daily arts news straight to your inbox.<\/em><\/p>\n<h3 class=\"western\"><em>Sign up for the Ludwig van Daily\u00a0\u2014 classical music and opera in five minutes or less <\/em><span style=\"color: #ff0000;\"><a style=\"color: #ff0000;\" href=\"https:\/\/bowtie.mailbutler.io\/tracking\/hit\/583e6ce0-dfd0-48be-8a33-61256b3c58e3\/a01723d1-1d1d-44ee-9d0c-779ed93a798c\" target=\"_blank\" rel=\"noopener noreferrer\"><i>HERE<\/i><\/a><em>.<\/em><\/span><\/h3>\n","protected":false},"excerpt":{"rendered":"<p>We\u2019ve looked at the obvious and the more obscure, pieces both centuries old and new, to come up with a list of musical suggestions for getting into the spooky spirit of Halloween.<\/p>\n","protected":false},"author":64,"featured_media":69512,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"om_disable_all_campaigns":false,"jetpack_post_was_ever_published":false},"categories":[33451,77,4967,5722,36,51],"tags":[660,4078,9795,38245,3408,5454],"yst_prominent_words":[6936,29928,38238,38241,14378,24293,38239,8237,7438,38242,38235,38244,38236,38240,23192,22703,38243,16648,38237,9960],"acf":[],"jetpack_featured_media_url":"https:\/\/www.ludwig-van.com\/toronto\/wp-content\/uploads\/sites\/2\/2020\/10\/Halloween-music-header.jpg","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p9bakr-i59","amp_enabled":true,"_links":{"self":[{"href":"https:\/\/www.ludwig-van.com\/toronto\/wp-json\/wp\/v2\/posts\/69511"}],"collection":[{"href":"https:\/\/www.ludwig-van.com\/toronto\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.ludwig-van.com\/toronto\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.ludwig-van.com\/toronto\/wp-json\/wp\/v2\/users\/64"}],"replies":[{"embeddable":true,"href":"https:\/\/www.ludwig-van.com\/toronto\/wp-json\/wp\/v2\/comments?post=69511"}],"version-history":[{"count":5,"href":"https:\/\/www.ludwig-van.com\/toronto\/wp-json\/wp\/v2\/posts\/69511\/revisions"}],"predecessor-version":[{"id":84849,"href":"https:\/\/www.ludwig-van.com\/toronto\/wp-json\/wp\/v2\/posts\/69511\/revisions\/84849"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.ludwig-van.com\/toronto\/wp-json\/wp\/v2\/media\/69512"}],"wp:attachment":[{"href":"https:\/\/www.ludwig-van.com\/toronto\/wp-json\/wp\/v2\/media?parent=69511"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.ludwig-van.com\/toronto\/wp-json\/wp\/v2\/categories?post=69511"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.ludwig-van.com\/toronto\/wp-json\/wp\/v2\/tags?post=69511"},{"taxonomy":"yst_prominent_words","embeddable":true,"href":"https:\/\/www.ludwig-van.com\/toronto\/wp-json\/wp\/v2\/yst_prominent_words?post=69511"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}