Saint-Saëns: Chaconne in G Minor - Michael Murray your evil castle organ track. what, were you going to use Bach’s Toccata in D Minor again? please.
Schubert: Der König in Thule - Brigitte Fassbaender you need a tragic dying-king song. how else did you get that castle?
Purcell: Dido & Aeneas, “When I Am Laid in Earth” - Dame Janet Baker this doesn’t need introduction, but this performance is haunting.
Pergolesi: Se tu m'ami - Zsuzsa Bereznai & Christian Ruvolo lyrics aren’t particularly sinister, but something about the melody is.
Satie: Gnossiennes No. 6 - Reinbert de Leeuw are you feeling modern? hip, with it, cutting edge? feel the fresh 1897 vibe.
Chopin: Nocturne for Piano no. 15 op. 55 in F Minor - Adam Harasiewicz maybe that was too modern. try this.
Allegri: Miserere - Roy Goodman if you haven’t heard this before: that’s a 12-year-old boy in 1963 who’s ruining your life.
Croft: De Profundis (from “The Burial Service”) - King’s College Choir I’d put the entire Burial Service here if I hadn’t just put you through 11 minutes of Allegri, but this is the best part of it anyway.
Byrd: Night of the Long Knives [“Dominum secundum actum meum”] - David Hirschfelder this is from the Elizabeth soundtrack, the scene where everyone is just getting fucking murdered everywhere.
Josquin Desprez: Nymphes des Bois (Déploration sur le mort de Johannes Ockeghem) - Hilliard Ensemble I don’t have space to describe my feelings about this. there is no better vocal work memorializing a dead person, period. we peaked in 1497, pack it in.
Dvorak: Eia, Mater - Toronto Mendelssohn Choir from Stabat Mater.
Schubert: Der Tod und das Mädchen - Brigitte Fassbänder it’s Death and the Maiden, and like all the good stuff from that genre, it makes the listener very uncomfortable.
Ramsey: Sleep, Fleshly Birth - Oxford Camerata a tender, ethereal madrigal in which fairies (quite contrary to their custom) feel bad about the death of a kid.
Hume: What Greater Griefe - Les Voix Humaines that’s Montreal countertenor Daniel Taylor being absolutely unsettling.
Beethoven: Trio for Piano No. 5 “Ghost” in D, op.70 1.II Largo assai ed espressivo: Trio Wanderer “because of its strangely scored and undeniably eerie-sounding slow movement, it was dubbed the ‘Ghost’ Trio…it may have had its roots in sketches for a Macbeth opera that Beethoven was contemplating at the time.”
Poulenc: Dialogues des Carmelites, “Salve Regina” - Catherine Dubosc, Kent Nagano yes, that is a guillotine sound running underneath the vocal. you’re welcome.