There’s a moment in the first episode of Mozart in the Jungle when the camera cuts to a lively party in progress at a spacious New York City apartment. Young people are scattered throughout the room, which is abuzz with chatting and drinking. One character scratches a record back and forth on a turntable before the “Toreador Song”from Bizet’s Carmen begins to play over the speakers. Gleefully, the character shouts:
“Let’s get Biz-AYYY!”
It was then my suspicions were confirmed—this show was going to be a glorious mess.
The first season of Mozart in the Jungle dropped on Amazon Prime Video in December 2014. It continued for three more seasons before ending its run in 2018. Loosely based on Blair Tindall’s memoir of the same name, this fictional dramedy series follows the story of young oboist Hailey Rutledge (played by Lola Kirke) as she tries to make it in New York City’s vibrant and competitive classical music scene. Along the way, she must navigate musician egos, backstabbing, blackmailing, mounting expectations, and performance anxiety, not to mention lots of sex, drugs, and alcohol. Sounds fun, right?
Whenever classical music appears in films or TV shows, the results are always a mixed bag. They either stretch the truth (as much as I adore Amadeus, it’s not the most historically-accurate portrait of Mozart or Salieri), present it as a symbol of the upper-class elite and/or notorious villains (hello, Mr. Bond), or just miss the mark entirely (nothing like trying to sell more Volvos with the music of an unhinged, manipulative mother who’s trying to get her daughter to kill someone). However, there are occasions when the media does get it right. (I’ve always been a fan of this iPad commercial starring Esa-Pekka Salonen.) So, the appearance of Mozart in Jungle sparked lots of excitement and trepidation in the classical community. Would the series finally get classical musicians—and the music itself—right for once?
Classical music has long been a magnet for the spooky and mysterious. From orchestral works to songs, there’s no shortage of pieces that either sound frightening or have some sort of bizarre or sinister backstory associated with them. So, to celebrate the month of October, here are six pieces to spark the imagination and send shivers up your spine:
1. Carlo Gesualdo: “Moro, lasso, al mio duolo” (1611)
The life of the Italian composer Carlo Gesualdo is similar in many ways to that of a character from a horror film. First off, in terms of his music, many of Gesualdo’s pieces make ample use of dissonance and other “crunchy” harmonies. Although this doesn’t seem too odd on the surface, some of these harmonies wouldn’t be widely used until the nineteenth and twentieth-centuries, which gives Gesualdo’s music an eerily modern feel for the time period in which they were written. Regardless, his use of dissonant harmonies in this particular madrigal (the title of which translates to, “I die, alas, in my suffering”) fits the poem’s theme of longing and emotional agony quite effectively.
Oh, and it just so happens that Gesualdo was also a murderer! One night in 1590, Gesualdo returned to his home in Naples to discover his wife in bed with another man. Furious, he flew into a rage and killed both of them in cold blood. And if this isn’t shocking enough, it turns out that after a thorough investigation, Gesualdo was eventually acquitted. (He was born to a well-off family and held some noble titles, so it clearly must have paid off to know the right people!) Today, Gesualdo has become one of the most infamous figures in music history, both for his stunningly original music and strange biography.
(For those who are interested in reading more about this fascinating figure – and for more grisly details – the music critic Alex Ross wrote a great article about Gesualdo for The New Yorker in 2011, which you can read here.)