![]() Arranged for solo piano, 1860–65? (= S.Published 1919 by Breitkopf & Härtel (Leipzig), as De Profundis (revised by Ferruccio Busoni) Composed for piano and orchestra, 1847–53 (= 1st version, S.126/1).Orchestra: piccolo, 2 flutes, 2 oboes, 2 clarinets (in A), 2 bassoons + 2 horns (in D/D and F in version 2), 2 trumpets (in D/D and F in version 2), 3 trombones, tuba + timpani, percussion + strings WorldCat Wikipedia VIAF: 184704445 LCCN: n81133660 GND: 300094841ġ847–53 (1st version), 1864 (2nd version) Totentanz (Liszt) Edit Totentanz (English: Dance of the Dead): Paraphrase on Dies irae, S. IMSLP does not assume any sort of legal responsibility or liability for the consequences of downloading files that are not in the public domain in your country.ĭanse macabre Haláltánc 死の舞踏 (リスト) Totentanz (utwór Ferenca Liszta) liszt Tanec smrti Танець смерті (Ліст) Пляска смерти (Лист) 死之舞Ĭsardas Macabre Danse macabre (Liszt) Totentanz (Liszt) Totentanz (danza macabra per pianoforte e orchestra) Totentanz, S. Please obey the copyright laws of your country. You may need to check the publication date and details of the work's first publication in order to determine the work's copyright status, especially for the United States, as the copyright on the original work may not have expired. In the United States, copyright can only apply to new creative work, and the re-engraving of a public domain piece (not including new additions of creative material) should not qualify for a new copyright, despite copyright claims (which properly would only apply to new material). In most European Union countries, these editions (except new original material) are generally protected for no more than 25 years from publication (30 years in Poland), and only if the edition is published after the copyrights of the original creator(s) have expired. In Canada, new editions/re-engravings of public domain works (when not including new original material) should be in the public domain due to failing to meet the threshold of originality. Totentanz (English: Dance of the Dead): Paraphrase on Dies irae, S.126, is the name of a work for solo piano and orchestra by Franz Liszt notable for being based on the Gregorian plainchant melody Dies irae as well as for stylistic innovations. Any commentary or critical apparatus, if protected by copyright, should not be included in the scan(s) available here. THE CONNECTION – Totentanz has not appeared on the Utah Symphony Masterworks Series since 2002 when Sergio Tiempo was featured as soloist and Keri-Lynn Wilson conducted.This is an urtext/critical/scholarly/scientific edition (or a simple re-engraving). And the Salvation Army was founded in England. The Matterhorn was summated for the first time. The Civil War ended in America but President Lincoln was assassinated just days later. Berlioz had already used the theme in his Symphonie Fantastique and Rachmaninoff would employ it often years later. ![]() Liszt claimed a place among good company with the choice. The thematic basis for the music of Totentanz is the plainchant “Dies irae,” upon which several intense variations are set. ![]() Whatever the case, Mediaeval Europe was obsessed with everything related to death and Romantic Era Europe was obsessed with everything related to Mediaeval Europe so macabre source material like Holbein’s work and the Pisa fresco would have been abundant and of timely interest during Liszt’s day. It has also been posited that the he met his muse in a series of illustrations by Hans Holbein with the more pertinent title of The Dance of Death (or Totentanz). Some, including at least one biographer, claim that Liszt was motivated by a 14th century fresco he saw while visiting the city of Pisa, a work known as The Triumph of Death. There are contrasting versions of the story concerning Liszt’s inspiration for Totentanz. This long gestation period was not abnormal for Liszt and his two piano concerti endured a similarly drawn out process. Liszt had begun work on Totentanz as far back as 1838 and did not consider it “completed” until 1849, a date that lost some of its significance after at least two revisions by the composer in the late 1850s. THE MUSIC – The close timing of the premiere and the tonsure, though historically fascinating, was incidental. Intriguingly, his death-obsessed showpiece for piano and orchestra Totentanz had premiered just ten days earlier at The Hague. Though he never became a priest, he did officially enter the clergy’s lower orders on Apand was known as “Abbot” Liszt for the rest of his days. THE COMPOSER – FRANZ LISZT (1811-1886) – In the early 1860s, the crushing disappointments of Liszt’s personal life forced him to seriously consider the solace and rigor of monastic life. Instrumentation: 3 flutes, piccolo, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, 3 trombones, tuba, timpani, cymbals, triangle, tam-tam, strings
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