Dies Irae

Totentanz or Dance of the Dead Paraphrase on Dies Irae for pianoforte and orchestra, S. 126 is a symphonic piece written for piano and orchestra by the Hungarian composer Franz Liszt (1811 – 1886). Liszt initially planned the piece in 1838 and finished the first version in 1849. In 1853 and 1859 he revised it before finally publishing it in 1865. Hans von Bülow, to whom Liszt dedicated the work, was the soloist in the April 15, 1865, premiere with the Diligentia Musical Society of The Hague, conducted by Johannes Verhulst. Along with solo piano, the work has pairs of woodwinds, horns and trumpets, three trombones, tuba, timpani, triangle, cymbals, gong and strings. The genesis of the piece comes from various sources, firstly the European folk…

sounds, and as the chord diminishes, the choir voices echo on the same chord with the text Requiem aeternam donna eis, Domine (grant them eternal rest). The harmony at this point is slow, and the d minor chord is repeated three times, each time a step lower than the previous iteration. As the choir sings et lux perpetua (and let perpetual light shine on them), a gradual change in harmony occurs followed by a sudden crescendo to the first climax that quickly diminishes on luceat eis (may shine…

The History A Requiem is sung at a funeral mass to give the soul entry to heaven. They were mostly personalized because mostly wealthy people would hire someone to create a Requiem when they were dying. John Rutter John Rutter was born in London in 1945. He first studied music as a chorister at Highgate School. He finished his education at Clare College, Cambridge. There he wrote and published his first compositions. He also conducted his first recording while still a student. Some of his…

The Lion King. Mary Poppins. West Side Story. Annie. The Phantom of the Opera. Matilda. Wicked. HAMILTON. These are all Broadway shows that I have had the privilege of seeing; moreover, they have been a crucial part of my love and respect for theater. When I sit in a theater like the Richard Rogers or Shubert, I am overwhelmed with joy like a kid in a candy store by the plush red velvet seats, the buzz of the crowd as the ushers attempt to control their hurried fever, the ornate designs on the…

Love is depends on people’s feeling but in only one case people should not decide to love or not to love. That one case is the family. There is no choice of love because the family members have to love their family; without love family does not exist. For example, if friends or people die will be sad, but when one of the family members dies the sadness cannot be compared to the sadness for the other people. The sadness cannot be compared because of difference of the love; more love means more…

Berlioz’s model of the Requiem Mass is considered to be the first true Romantic-era model. He had included elements from the traditional Requiem Mass, for example the Dies Irae, Tuba Mirum, Rex tremendae and Lacrymosa sections including the text. However, his version of Requiem was greatly different from that of previous Classical models. Berlioz’s work was more theatrical than for service, proving to include secular settings in a sacred frame, as he contrasted the loud and peaceful movements,…

Todd fully becomes crazy in this number its shown through both lyrics and music. The Track shifts from extraordinarily heavy and livid to mourning and lyrical in just a few moments. This song incorporates a few different leitmotifs. The first one again is the Dies Irae. This starts after Todd’s lyric “but not for long”. The Dies Irae is clearly heard in the piano played very staccato. Another leitmotif is when Todd is singing the lyric “and my Lucy lies in ashes”. The melody that Todd is…

elements are found in the classical requiem masses and more prominently in the Dies Irae parts. Although the Dies Irae text was the last addition to the requiem mass, it became one of the most emotionally intense parts of the requiem settings. The requiem text was very influential for many composers in the classical era such as Mozart and Cherubini. In their requiem settings, and more specifically in their Dies Irae parts, we recognize the Sturm und Drang (storm and stress) composing style…

this style for the Kyrie text, Gounod for the Dies Irae and Verdi for the Libera me. Furthermore, the Caecilian movement in Germany had the belief of revival of Gregorian chant and renaissance polyphony. The followers of the movement insisted that all contemporary religious music must remain in the spirit and tradition of the “ages of faith” . Bruckner, Liszt and Gounod generally embraced these ideas. Saint-Saens, A. Bruneau and Sgambati used the opening phrase of the Gregorian Dies Irae melody…

You wouldn't believe me when i say this but a lot of us were saying i started strong and i'm gonna finish it strong there were a few mistakes in the singing the tone started to fade bad timing when it was in Dies Irae but the faking covered that a lot of the people didn't notice because they were focused on how the sounds were bouncing of the walls we kept it balanced on Troubled fly voices blended with other voices nobody was to high or too low and we lead to Bridge over Trouble Water was…