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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.
Shortly after the premiere, the piece was transcribed into a piano solo arrangement by Franz Liszt (S.555), [8] a good friend of Saint-Saëns. Next to countless other piano solo transcriptions, Ernest Guiraud wrote a version for piano four hands and Saint-Saëns himself wrote a version for two pianos, and in 1877 also a version for violin and ...
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).
The term is usually reserved for purely instrumental works (pieces without singers and lyrics), and not used, for example for opera or lieder. Single-movement orchestral pieces of program music are often called symphonic poems. Absolute music, in contrast, is intended to be appreciated without any particular reference to the outside world.
While residing in London, England, between 1871 and 1872, Gounod started to write a suite for piano called Suite burlesque. After completing this piece, Gounod abandoned the rest of the suite. [ 2 ] The piece was dedicated to Madame Viguier, a pianist and the wife of Alfred Viguier, the first violin in the Orchestre de la Société des Concerts ...
The characteristics of the funeral march are found in various symphonic poems such as Tasso (1854), Die Ideale (1857), Hamlet (1858), Héroïde funèbre (1849-1850), Hungaria (1854), where the Hungarian composer deals with both death and mourning itself, and death as a prelude to rebirth. In the last two poems cited the reference to the funeral ...
In Death and Transfiguration, a sprightly melody in a major key evokes childhood. [4] Some piano and chamber works, such as Arnold Schoenberg's string sextet Verklärte Nacht, have similarities with symphonic poems in their overall intent and effect. However, the term symphonic poem is generally accepted to refer to orchestral works.
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: