Interlochen Public Radio (IPR) is marking Halloween 2026 with a full day of thematic programming across its classical broadcast schedule. The station has curated a lineup that spans from early morning through late evening, blending traditional orchestral works with film scores and experimental compositions to capture the holiday’s atmosphere.
A Day of Musical Thrills on Classical IPR
The broadcast schedule begins at 7 a.m. with a special Halloween edition of Weekend Classical hosted by Amanda Sewell. Following this, Tyler Castellanos takes over for Music by Request from 9 a.m. until noon. The afternoon features a curated selection of cinematic and operatic works, highlighting the intersection between classical music and the macabre.
At noon, listeners can tune in to The Score with Edmund Stone for a special titled “The Brothers Grimm.” This segment focuses on film music inspired by the famous fairy tales, including tracks from Maleficent and Snow White and the Huntsman, alongside lighter interpretations from films like Enchanted, Tangled, and Shrek Forever After.
The operatic intensity shifts at 1 p.m. with the WFMT Opera Series presentation of Ruggero Leoncavallo’s I Pagliacci. This recent production from the Opera Festival of Chicago features tenor Jonathan Burton in the role of Canio, the clown whose descent into violence serves as a centerpiece for the day’s dramatic programming.
From Cinematic Scores to Experimental Soundscapes
The afternoon programming continues with Requiem for a Scream, produced by Louisville Public Media. Daniel Gilliam leads this segment, which runs from 3 p.m. to 5 p.m. and features a mix of iconic horror film scores and classical pieces known for their unsettling qualities. The playlist includes music from John Carpenter’s Halloween, Michael Abels’ score for Us, and selections from Hocus Pocus, Beetlejuice, and The Shining. Beyond cinema, the set includes Franz Liszt’s Totentanz and Alexander Scriabin’s Black Mass sonata.
The programming serves as a reminder of how deeply the classical tradition informs the tropes of modern horror, utilizing dissonance and rhythmic tension to evoke fear in a way that synthesized scores often emulate.
Following this, Jake Armerding hosts Creepy Classics from 5 p.m. to 6 p.m., drawing from the concert stage and opera to round out the early evening. As night falls, the station shifts toward more contemporary and experimental works.
IPR Broadcasts Evening Music Featuring Supernatural Themes
From 6 p.m. to 8 p.m., IPR music director Amanda Sewell presents “Trick or Treating Terrors.” This curated playlist moves into darker territory, featuring pieces themed around serial killers, deranged clowns, and electric insects. The station advises that this segment is intended for those who prefer their music with the lights on.
The day concludes with a two-hour special from Living Classical, hosted by Tyler Kline. This segment explores global folklore and supernatural themes through new music. The first hour focuses on masquerades, ghosts, and musical spellbooks. The second hour expands the scope to include Irish sea folklore—specifically a “storm hag”—a ghost story originating from China’s Cultural Revolution, and a musical depiction of a séance gone awry.
