[Muzik Klasik] Totentanz (Dance of the Dead) - Liszt
Edited by sharlenetexas at 26-6-2020 10:44 PMIols masih belum berkesempatan menyaksikan persembahan secara langsung. Setakat dengar kat Youtube. Mula-mula sekali dengar Totentanz masa Maksim main piano. Versi Maksim lebih mesra pendengar kerana digubah secara komersil pop. Ada bunyi latar gitar elektrik dan lain2. Jangan lupa komposer asalnya Franz Liszt.
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Totentanz - Dance of the Dead
Edited by sharlenetexas at 26-6-2020 11:26 PM
Versi orkestra. Enrico Pace yang main piano.
Enrico pun nampak sama weng macam Liszt ;P
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Edited by sharlenetexas at 26-6-2020 04:40 PM
sharlenetexas replied at 26-6-2020 04:19 PM
Totentanz - Dance of the Dead
Pemahaman dan intrepetasi omputih terhadap kematian pada kurun ke-17.
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Piano solo
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Yang ni mcm orkestra rtm versi radio perancis
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https://www.instagram.com/p/Bn30DyEFp7y/?igshid=1u0t6jf1qa5hg
https://www.instagram.com/p/B-KinDsjCF-/?igshid=o0tc3k1hlt3m
From wikipedia:
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. It was first planned in 1838, completed and published in 1849, and revised in 1853 and 1859.
Edited by sharlenetexas at 26-6-2020 08:05 PM
Obsession With Death
Some of the titles of Liszt’s pieces, such as Totentanz, Funérailles, La lugubre gondola and Pensée des morts, show the composer's fascination with death. In the young Liszt we can already observe manifestations of his obsession with death, with religion, and with heaven and hell. According to Alan Walker, Liszt frequented Parisian "hospitals, gambling casinos and asylums" in the early 1830s, and he even went down into prison dungeons in order to see those condemned to die.
The Dance of Death
Edited by sharlenetexas at 26-6-2020 08:06 PM
Sources of Inspiration
Another source of inspiration for the young Liszt was the famous fresco "Triumph of Death" by Francesco Traini (at Liszt's time attributed to Andrea Orcagna and today also to Buonamico Buffalmacco) in the Campo Santo, Pisa. Liszt had eloped to Italy with his mistress, the Countess d’Agoult, and in 1838 he visited Pisa. Only ten years later, Liszt's first sketches materialized into a complete version of his Totentanz. Revisions followed in 1853 and 1859, and its final form was first performed at The Hague on 15 April 1865 by Liszt's student Hans von Bülow, to whom the work is dedicated.
Stylistic Innovations
Extant Versions
Like most Liszt pieces, a number of versions exist. Next to Liszt's first version of the Totentanz a second De Profundis version was prepared from Liszt's manuscript sources by Ferruccio Busoni (1919). The standard version is the final and third version of the piece (1859). Liszt also wrote versions for two pianos (S.652) and solo piano (S.525). Edited by Emil von Sauer, the original edition for two pianos, however, merely incorporated the solo part of Liszt's rendering for piano and orchestra, with a transcription of the orchestral accompaniment in the second piano. Dr. Andrey Kasparov has since re-imagined this setting as a work for piano duo. It shows to great effect the breadth of the Totentanz, when distributed evenly between two performers.
Totentanz for piano duo - tak pernah tengok lagi.
Notable Performers
Besides the performances by Hans von Bülow, Béla Bartók, Sergei Rachmaninoff and Ferruccio Busoni, performances of historic significance include those of the Liszt student José Vianna da Motta (1945 - Port Nat S IPL 108), as well as Gyrgy Cziffra (EMI 74012 2), Claudio Arrau, Jorge Bolet (Decca), Arturo Benedetti Michelangeli (1961 - Arkadia HP 507.1; 1962 - Memoria 999-001), Michel Béroff (EMI Classics), Byron Janis (RCA), Martha Argerich, Krystian Zimerman (Deutsche Grammophon), Arnaldo Cohen (Naxos and BIS), Raymond Lewenthal, and Enrico Pace at the Second International Franz Liszt Piano Competition in 1989.
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