This dispenses with all of the ‘De profundis’ material and other sections never sanctioned for publication by the composer. Liszt continued tinkering with the score between 18, when a second version appeared. Without going into great detail, basically there exist two versions: the first, dated October 21, 1849, with the title Fantasie für Pianoforte und Orchester was not published until 1919 (in an edition by Busoni) it is generally known as the ‘De profundis’ version because it incorporates the plainsong setting of Psalm 130 (‘Out of the depths have I cried unto thee, O Lord’). The gestation of Totentanz was protracted and complex. Totentanz, a series of variations on the Latin plainsong chant of the ‘Dies irae’, can be considered ‘the spiritual sister’ of these ‘Years of Travel’ (indeed, Variation 5 puts one in mind of the central section of the Dante Sonata). From this period of Liszt’s prolific output came early versions of the 12 Transcendental Études, the Six Études de Paganini and the first two volumes of Années de pèlerinage, and much else besides. The first of these was their daughter Cosima, later to become the wife of Hans von Bülow and latterly of Richard Wagner. The couple had eloped in 1835, leaving Paris for Geneva and thence, for the next few years, travelling through Switzerland and Italy absorbing scenery, places, literature and painting, while producing three illegitimate children. ![]() It was the sight of this, it is said, that first inspired the composition of his Totentanz – Danse macabre, though it would not appear in its final form for nearly three decades. Five hundred years later, one of those who came to the Camposanto to admire the work was Franz Liszt in the company of his mistress the Countess Marie d’Agoult. Once attributed to Orcagna, nowadays to Buonamico Buffalmacco or, by some scholars, to Francesco Traini, it was created in 1338‑39. Among its murals is an impressive fresco entitled Il trionfo della Morte: ‘The Triumph of Death’. The iconic dissonant and aggressive opening remains one of Liszt’s namesakes.Pisa’s Piazza dei Miracoli, also known as the Piazza del Duomo, contains the Cathedral, the Baptistry, the Campanile (aka the Leaning Tower) – and the Camposanto Monumentale. 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. 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.
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