danse macabre

(redirected from Totentanz)
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danse macabre:

see Death, Dance ofDeath, Dance of,
or danse macabre
, originally a 14th-century morality poem. The poem was a dialogue between Death and representatives of all classes from the Pope down. By the 15th cent., pictorial representation with verses illustrating the pictures became common.
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danse macabre

Dance of Death; procession of all on their way to the grave. [Art: Osborne, 299–300, 677]
See: Death

Danse Macabre

Saint-Saëns’ musical depiction of a dance of the dead. [Music Hist.: Thompson, 1906]
See: Horror
References in periodicals archive ?
For Pynson's and Bignon's editions, see Herbruggen, "Ein fruhes liturgisches Beispiel fur den englischen Totentanz" and "Ein anglikanischer Beitrag zur Geschichte des englischen Totentanzes."
142-53) without Web site example 4.6, or his multifaceted considerations of Liszt's Scherzo und Marsch and Totentanz without Web site examples .6.10-6.20.
Made up of talented teenagers from all across the country, the group attempts to awaken new life in classical musicwith a programme that ranges from Jan[sz]cek's Sinfonietta and Berg's Violin Concerto to the diabolical rollercoasters of Liszt's Totentanz and Prokofiev's Scythian Suite.
2; cellist Josh Koller, performing the fourth movement of Edward Elgar's Cello Concerto; and pianist Ben Corbin, performing "Totentanz" by Franz Liszt.
Many recall the grotesque humor of the traditional Totentanz (dance of death), in which the skeletal figure is simultaneously terrifying and comical.
A comprehensive listing of the works which still defies completeness comprises the following works (years of publication in parenthesis): Helmut Altner's diary Totentanz Berlin: Tagebuchblatter eines Achtzehnjahrigen (1947), Klaus Hubalek's diary Unsre jungen Jahre: Tagebuch eines Zwanzigjahrigen (1947), Dieter Meichsner's text Versucht's noch real mal mit uns (1948), and Manfred Gregor's autobiographical novel Die Brucke (1958).
Tucholsky provides a variation on the traditional 'Totentanz' motif in 'Stimme aus den Kalkgruben' (1925), in which the dead address the living, expressing their astonishment at the honours paid to their former leader, who is not identified, while in 'Der schlaflose Tote' (1925) the title figure wanders through the quarters of the ruling establishment, only to be ignored and dismissed by those he meets; yet their efforts to silence him fail and the poem ends with the words 'Gott gebe ihm ewige Ruhe!
Biblical (and Christian) lore and language permeate, of course, Brecht's fragmentary and projected output for the theater as much as his formidable oeuvre in its entirety, beginning with that early oratory once more, then continuing with "David," "Sintflut," and "Goliath" (from the 1920s and 1930s) right down to "Der Salzburger Totentanz" (from the late 1940s).
31, 'Paris', " Ravel's "Piano Concerto for the Left Hand," Liszt's "Totentanz" and R.
Far better to live during the first's orderly quadrille than the second's totentanz.
Si senta come martella l'epica danza della morte medievale in Totentanz, accanto al respiro della vita e dell'amore cercati: "Il ritmo e la gente che corre spinge/Transita accanto malevola benevola/Sorride digrigna i denti/Addenta o bacia/Scalcia o abbraccia./Il ritmo sei tu con le follie/Paure orrori timori amori/...