An Analysis and Interpretation of Franz Liszt's Totentanz for Piano Solo, S. 525

• Main Authors: Yen, Tzu-Shan, 顏子姍
• Other Authors: Lin, Jo-Chi
• Format: Others
• Language: zh-TW
• Published: 2018
• Online Access: http://ndltd.ncl.edu.tw/handle/zg8x9p

碩士 === 國立嘉義大學 === 音樂學系研究所 === 106 === The theme of this research is the piano solo version of Totentanz (1865) by Franz Liszt. The inspiration of this piece is an art work called The Trionfo della Morte (1336-1341), frescoed inside the Camposanto of Pisa in 1341. During a visit to Italy Liszt saw this fresco, in which the subject of death transformed into his work “Totentanz”. In this composition, Liszt combined the factors of visual art and music, manifested the ideas of programmatic themes which accordance the Romanticism in the nineteenth century. The title “Totentanz” means “dance of death”. However, it does not truly represent “dance music”. Instead, the word “dance” here is more like describing “the flaming of Death in the world”. “Totentanz” consists of three parts. The first section has five variations based on the Gregorian chant Dies irae, while the second section contains six variations on an original theme. The last section concludes this piece with a coda which is also based on Dies irae. The Trionfo della Morte illustrates many scenes, all express a single topic: everyone is equal in front of the Death. The musical structure of “Totentanz” resembles that of the fresco, not only the dramatic contraries between the parts, but also the mood of thrill and terror. This study will survey each part of the Trionfo della Morte, then associates the analysis to every section of Liszt’s Totentanz. As a result, the researcher will give a possible interpretation of the music based on the meaning of the fresco. Furthermore, to expose the inner concept in the music beyond the dazzling piano technique.