There’s a lie we like to tell ourselves: bullies are mean because they are actually insecure, depressed, unloved, and lonely. That might make us feel better when someone is picking on us, but the truth of the matter is, bullies are jerks who are living the good life at the top of the social ladder.

And that’s why there are stories like Don Juan: seducer, rapist, murderer, liar, and just about the most horrible person you can dream up. Mozart‘s operatic version of the story, Don Giovanni, begins with the main character seducing the daughter of a knight, before then killing her father – with no regrets for any of his actions. The opera concludes with a triumphant moment of justice, when the murdered knight appears as a ghost who offers Giovanni one last chance to repent – Giovanni, however, would never stoop so low. The knight grabs him by the hand and pulls him down to hell. Everybody else then casually sits around and agrees that Giovanni had what was coming to him.

A couple years ago, I was teaching a class on Musical Form & Analysis. I gave my students an assignment to take a short piece and analyze the phrase structure. For most people, their analysis looked like “A, A’, B, A'” or “A, A, B, A, C, D, C, A, B, A”. And then there was that one cheeky student who analyzed Edvard Grieg‘s “In the Hall of the Mountain King” —

A, A, A’, A’, A, A”; A, A, A’, A’, A, A”; A, A, A”’, A”’, A, A”; coda (based on A)

A lot of hip-hop, dance, and techno music is just a two-measure phrase repeated ad nauseam. Well, Grieg’s famous spooky work isn’t much more than that. It’s a four-measure phrase, grouped into a six-phrase unit which is repeated three times, with a little ending. He does two things to keep us from banging our heads against the wall in boredom: 1) in each six-phrase unit, the middle two phrases begin on a different note 2) each successive phrase gets a little bit louder and faster.

The work is from a suite of incidental music Grieg wrote for the Norwegian satirical play Peer Gynt. It’s the closest thing to humor a Scandinavian has ever created.

I’m said before that Mozart wrote the Requiem against which all others are judged. I’ve also mentioned how the intense emotions of that piece foreshadow a big change in musical style between the 18th and 19th centuries. Mozart’s is a masterpiece, classical in balanced form and romantic in dramatic execution. But what if we dump that balance and go straight for the feels – specifically, the OMG-I’m-afraid-to-die day-of-judgment fire-and-brimstone scared-out-of-my-wits feels?

Enter Giuseppe Verdi, the revolutionary composer who helped Italian Opera stay on the map. His Requiem IS an opera; the emotional drama is as chilling as Othello, heart-wrenching as Traviata, dark as Rigoletto. When we hear about the day of judgment, we are scared. We are very very scared. And when Verdi’s angel sounds the trumpet (at 2:25, “Tuba Mirum”), it makes me want to cower under my desk. Mozart’s Tuba? not so much. Makes me want to do a Mr. Bean dance.

Kudos to the performers here for having A LOT of singers in the choir, so the brass could play at full-volume!

The music is scary up until 4:10, at which point it’s the conductor’s face which is scary.