Ghostly Voices: 4 Eerie Art Songs for Halloween

Is that the wind rushing through the trees, or something far more sinister? Featuring terrifying creatures and otherworldly visions, these art songs and lieder set the perfect tone for your Halloween festivities.

1. “The Vampire’s Lullaby,” Geoffrey Allen

Vampires: they’re just like us! If you’re a classical music fan, you might think you’ve heard every kind of lullaby under the sun. British-Australian composer Geoffrey Allen’s “The Vampire’s Lullaby” is here to prove you wrong. Part of the set Songs that mother never taught me, the piece depicts a vampire mother coaxing her little one to sleep “till nightfall” with happy thoughts:

“And when the dark comes, we will take wing

And hunt for our victims, to whom we will cling.”

Video: Songs that mother never taught me, Op. 17: No. 3. The vampire’s lullaby

2. “Erlkönig,” Franz Schubert

A ride through the woods goes horribly wrong in Franz Schubert’s iconic art song “Erlkönig,” widely considered to be one of the greatest ballads ever written. During a late-night journey on horseback, a young boy tells his father that he is being chased by the Erl-King, a supernatural being with questionable intentions. The father doesn’t believe him – until disaster strikes. 

“My son, why do you hide your face so fearfully?

Father, don’t you see the Erl-King there?

The Erl-King with his crown and train?”

My son, it is a streak of mist.”

Video: Franz Schubert: Erlkönig

3. “The Wanderer,” Franz Joseph Haydn

Franz Joseph Haydn’s lied “The Wanderer” places the listener in a gloomy forest, a nice place to reflect on awful memories…. right? The singer is trapped in the past, lamenting that there is nothing to hope for and nothing to fear (despite the unsettling sights all around). 

“To wander alone when the moon, faintly beaming

With glimmering lustre, darts thro’ the dark shade,

Where owls seek for covert, and nightbirds complaining

Add sound to the horror that darkens the glade.”

Video: Haydn: The Wanderer

4. “Hexenlied,” Felix Mendelssohn

Equally infused with joy and horror, Felix Mendelssohn’s “Hexenlied” (“Witches’ Song”) follows a coven of witches as they celebrate a special time of year. Ghastly visitors join them as they dance, leaving behind wonderful gifts (and scaring off the local humans).

“A fiery dragon flies round the roof

And brings us butter and eggs:

The neighbors catch sight of the flying sparks,

And cross themselves for fear of the fire.”

Video: Palais Lichtenau session • Hexenlied

Terrifying Films, Terrific Music

By Hannah Lieberman

Think about your favorite scene in a scary movie. What is it that makes you cringe? Maybe it’s the notorious “dun-dun” of Jaws, or the cutting strings in Psycho. Music has a unique ability to heighten the tension in horror films and make audiences jump. The right soundtrack can even turn beloved family flicks into horrifying movies, as one editor did with Mrs. Doubtfire.

Pianist Ethan Uslan, known for his ragtime remixes of classical pieces, has experience in accompanying films of various genres, including some that might be on your Halloween playlist. We asked him a few questions about his experiences:

What goes into preparing for this type of performance? Do you have a score or are you improvising?

For most comedy films, I just wing it. I have lots of happy marches and ragtime pieces in my repertoire that fit well with slapstick action and a “funny” feel. I also have love music, sad music, danger music, etc, ready to go.  I often improvise and play with harmonies and tempos and volume and different registers of the piano and make stuff up on the fly.

Sometimes I make up little melodies but usually I use existing pieces in my repertoire (although I still improvise with tempos, volumes, etc). An example of existing music that I use: “Let Me Call You Sweetheart” makes a great love theme and Grieg’s Triumphant March works great when the hero vanquishes the villain.

For dramas or horror movies, it does not work to play lots of bouncy ragtime, so I prepare by seeing the movie in advance and compiling a little score filled with existing music (and lots of improvising in between).

The existing music can be classical (I played a lot of Handel in The Black Pirate and I like to play the Mendelssohn’s Gondola Song during the underground gondola in scene of Phantom of the Opera) or I use photoplay music, which was movie mood music published in the 1910s and 1920s just for the purpose of silent films.

Pieces would be called “Agitato #32” or “Love Theme #6” and you can use the in any movie at an appropriate scene.  Sometimes I use these and they work great.

What’s most exciting for you about playing music along with a silent film?

When the crowd gets into it they boo the bad guy and cheer the good guy and the room becomes electric.

What addition do you think live music brings to a viewer’s experience of a film?

Live music makes the event more exciting, and when everything is going right the performer feeds off the crowd.

Can you share an experience of the best feedback you’ve gotten about a gig accompanying a silent film?

After the film people have said nice things to me about the performance but honestly for me the best feedback is to hear audience reaction during the film – that shows me they are engaged and that’s the highest compliment I can receive.

Want to learn/hear some more on silent film music? Check out Episode #9 of Ethan’s podcast “The Carolina Shout,” entitled Don’t Open That Door!!


Hannah Lieberman is a senior at Davidson College where she studies Political Science and Theatre. She loves her work at WDAV, where you can hear her live on Sunday mornings.

Top 5 Scariest Halloween Soundtracks

It’s Halloween, and that calls for creepy themes to give you a chill. Matt Rogers, host of WDAV’s Reel Spooks, gives us a show preview by sharing his top five picks for scariest Halloween soundtracks.

Cape Fear

This is Bernard Herrmann at his brassy best. When the horns kick in, you know you’re in trouble. The score was so good that it was used in both the original movie and the remake.




The main theme, “Tubular Bells,” by Mike Oldfield, wasn’t written for the movie, and by itself isn’t particularly scary. But see the movie, and those seemingly innocent chimes will forever after conjure images of sweet little possessed Regan.



The Omen

Jerry Goldsmith finally won his Oscar for this chilling score. He was also nominated for Best Original Song for the film’s choral piece, “Ave Satani” (“Hail Satan”). It’s creep-tastic.



This is the pinnacle of the Herrmann/Hitchcock collaboration. Those screeching strings are iconic. Try to imagine the famous shower scene without them. Just wouldn’t be the same.



Bride of Frankenstein


UPDATE (10/27/15):
To listen to all of Matt Rogers’s picks — including Psycho, Bride of Frankenstein, The Exorcist, Dracula, The Omen, and more — tune into ‘Reel Spooks’ Friday, October 30, 2015 at 9 p.m. Are you in the Charlotte area? Tune into 89.9fm Classical Public Radio. Prefer to stream? Listen live at WDAV.org or on Apple and Android apps.