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I won't consider Fur Elise ominous, but if the interpretation is done correctly, then it also can become dark and ominous. Others that can take the stand: Tchaikovsky's Dumka and Allegro con grazia from 6th Symphony. Dumka is supposed to be a 'rustic Russian Scene', but I can only hear oppressed anger and mad passion in it. While the second movement from the infamous 6th Symphony has a sweet melody, the whole structure is also fainty ominous because it sounds almost like a dance - a waltz to be exact, but you can't dance to it. Beethoven has a lot of dark and ominous melodies. One of them (my personal fave) is the Kreutzer Sonata, or Violin Sonata No 9. The first movement is spectacular in its unabashed display of anger and darkness. And don't forget his Moonlight sonata. Played with the correct weight leant to it, it would chill if listened alone in a room at night. Another is the Sixth Symphony, 'Pastoral'. Sure, it's all sunny and happy, but the third movement entitled Thunderstorm speaks for itself. And also a certain cello sonata - Cello Sonata No 3 - for which the second movement - a scherzo, of all style - is also slightly menacing. There is no need to speak about Mahler's dark views on the world. He always managed to gather it all in his symphonies. Some can be gleaned from his Fifth Symphony. The first movement is named Trauermarsch - Funeral March. The second plunges you deeper into the abyss. While the fourth is a sort of a limbo - being the famous gentle adagietto - the fifth is a sudden outburst of joy, perhaps joy after delivered from uncertainty to a definite destination. Still the overall weather for this work is overcast, with the shining silver lining being the final movement. Bela Bartok is an interesting study for music. Though I confess I don't find his works to be of my cup of tea, Suite from The Miraculous Mandarin is definitely ominous. If you want to further plunge yourself in the abyss of sadness and despair, then just listen to Schubert's Unfinished Symphony, the first movement. The same motive repeated throughout the symphony merely adds to the dark feel, like it's inescapable. The last one is probably offbeat, but still fulfills your category as being s dark, ghostly, faint, but ominous. It's Bach's Chaccone from Partita No 2. Listen and try to relax.