This chapter focuses on the piano—a tactile space par excellence—and argues that the connections between memory, touch, and estrangement in the Gothic are made evident through pianism. The awakening and retrieval of memories that classical piano music facilitates trigger spatial, temporal, and psychological processes of audiovisual re-collection that decisively contribute to the breakdown of relationships. The following films anchor my investigation into the Gothic’s aural geographies: Orlacs Hände (Wiene, 1924), Undercurrent (Minnelli, 1946), Dragonwyck (Mankiewicz, 1946), While I Live (Harlow, 1947), and Letter from an Unknown Woman (Ophuls, 1948). Through Marcel Proust’s and Reverend H.R. Haweis’s writings, and guided by Ivan Raykoff’s (Dreams of Love: Playing the Romantic Pianist. Oxford: Oxford University Press, 2013) research on ‘sound-bodies’, ‘unsound bodies’, and ‘untuned women’, I analyse the effects of pianism’s dark aural aesthetics on the memory of the viewers-listeners and the tortured virtuosos. I advance the concept of ‘haptic listening’ to analyse the characters’ intense experience of piano music in exilic spaces of musical interaction and offer a literary and pseudo-medical contextualisation of the piano’s evil effects.