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Franz liszt totentanz1/18/2024 stats/stats. oai/?verb=GetRecord&metadataPrefix=oai_dc&identifier=info:ark/67531/metadc5409 International Image Interoperability Framework (IIIF) The adjustment required in transcribing the work for piano solo is discussed in detail, followed by a conclusion. Form and harmonic language in particular the use of tritone in Totentanz is discussed. Chapter IV discusses and compares the two main versions for solo piano and piano and orchestra. ![]() Like in the case of Totentanz, transcribed form piano and orchestra into piano solo, Liszt transcribed and paraphrased hundreds of other composers' works as well. Liszt revised his own works numerous times from the 1840s and 1850s, including Transcendental Etudes, Paganini Etudes, and piano and orchestra works. Chapter III presents an outline of Liszt's achievement as a transcriber. ![]() Chapters I and II provide background information, historical background and influences of Totentanz. 14 and Rachmaninoff in Rhapsody on a Theme of Paganini. The main theme is based on the Gregorian chant Dies irae, a melody that has been used by many other composers, most notably Berlioz in Witches Sabbath of Symphonie fantastique, op. Totentanz consists of six variations that include canonic and fugato sections. Liszt's own piano solo transcription of this famous work is an excellent addition to the concert repertoire. Currently, there are no specific studies about the solo piano or two piano versions and only one recording was located. Most studies of Totentanz address only the historical background of the piece in relation to the theme based on Dies irae. Totentanz has been recorded by many pianists and addressed in much of the vast literature about Liszt and his works however, little research has been focused on this work. Franz Liszt’s obsession with death, and fascination with the supernatural and macabre, led to 'Totentanz,' or 'Dance of the Dead. The iconic dissonant and aggressive opening remains one of Liszt’s namesakes.Undoubtedly, Totentanz has been one of the most famous works by Franz Liszt. Liszt’s handling of the Dies irae theme as part of a set of opposing variations mixes the old and new styles of classical music. The dark temperament of Franz Liszt’s Totentanz is what makes it stand out for many of his other orchestra works. Totentanz comes to its epic conclusion with another lower brass and horn call of the Dies irae theme, before the piece finishes with orchestral tutti chords. The bold piano interludes resemble a collection of the variations, which also begin to speed up. The last couple of minutes of Totentanz begins to tie loose ends up and brings the orchestra back together. Totentanz ’s variation structure has been described as “disclosing some new character – the earnest man, the flighty youth, the scornful doubter, the prayerful monk, the daring soldier, the tender man, the playful child.” The soft lyrical central section opposes the harsh toccata and full orchestra blasts. ![]() The big orchestral swells that lead into short piano interludes lets us see the many sides to Liszt’s creativity. Liszt utilises every instrument in the orchestra to their full potential, with the brass being used to show the diabolical side of the theme of death and the shrill woodwind following suit. Liszt’s quick changes from more Medieval-sounding passages that explore counterpoint and the theme, to the highly dissonant and dramatic full-scale sequences, makes the work rich in content for the listener. Totentanz is often commended and admired for its very modernistic style, which was well ahead of its time. Stabs from the orchestra set off flourishing runs from the piano, as well as Liszt exploring the very bottom end of the instrument. The harshness from the piano mixed with the steady trombones and tuba makes for a really exciting introduction to Liszt’s Dance of Death. The foreboding aspect of this opening has become iconic within Romantic repertoire, with Béla Bartók using a very similar formula for the start of his Sonata for Two Pianos and Percussion, written some 100 years later. Opening with dissonant, percussive chords from the piano, the lower brass enter with the original Dies irae theme. This fascination is reflected in a number of his works such as La lugubre gondola and Totentanz. Totentanz is now available on 'Live at the Royal Albert Hall' DVD get your copy today at. Liszt was known for being strangely obsessed by death, with him visiting hospitals, asylums and prisons to see those condemned to die. The work is primarily based on the Dies irae melody, which Liszt takes and develops into a powerful set of variations. Completed in 1849, Totentanz (‘Dance of the Dead’) is a fiery work for solo piano and orchestra by Hungarian composer, Franz Liszt. Franz Liszts 'Totentanz' (Dance of the Dead), also known as 'Haláltánc' in Hungarian, is a composition for piano and orchestra (S.126).
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