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Mussorgsky in 1874. Songs and Dances of Death (Russian: Песни и пляски смерти, Pesni i plyaski smerti) is a song cycle for voice (usually bass or bass-baritone) and piano by Modest Petrovich Mussorgsky, written in the mid-1870s, to poems by Arseny Golenishchev-Kutuzov, a relative of the composer.
It is a generic name for any composition for the instrument, but when used in a title (Piano Piece, Piece for Piano) the name is used to indicate a (usually) single-movement composition for solo piano that has not been given a more specific name (such as Sonatina, Allegro de concert or Le Bananier), for example:
Carrying (i.e. 1. generally, sliding in pitch from one note to another, usually pausing just above or below the final pitch, then sliding quickly to that pitch. If no pause is executed, then it is a basic glissando; or 2. in piano music, an articulation between legato and staccato, like portato) portato or louré
Since the invention of sound recording, a classical piece or popular song may exist as a recording.If music is composed before being performed, music can be performed from memory (the norm for instrumental soloists in concerto performances and singers in opera shows and art song recitals), by reading written musical notation (the norm in large ensembles, such as orchestras, concert bands and ...
Musical symbols are marks and symbols in musical notation that indicate various aspects of how a piece of music is to be performed. There are symbols to communicate information about many musical elements, including pitch, duration, dynamics, or articulation of musical notes; tempo, metre, form (e.g., whether sections are repeated), and details about specific playing techniques (e.g., which ...
Since the piano became a popular instrument, a large literature has sprung up of transcriptions and arrangements for piano of works for orchestra or chamber music ensemble. These are sometimes called "piano reductions", because the multiplicity of orchestral parts—in an orchestral piece there may be as many as two dozen separate instrumental ...
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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).