Les danses des morts (Kastner, Jean-Georges)

Movements/SectionsMov'ts/Sec's 7 movements
Composition Year 1852
Genre Categories Secular cantatas; Cantatas; For 7 voices, orchestra; For voices with orchestra; Scores featuring the voice; French language

Sheet Music

Scores

 Cover page and Preface
#20946 - 3.43MB, 14 pp. -  0.0/10 2 4 6 8 10 (-) - V/V/V - 152×⇩ - jsnfmn

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⇒ 5 more: Essay - First Part • Essay - Second Part • Plates • La Danse Macabre Full Score • Synopsis - Additions and Corrections

 Essay - First Part
#20947 - 15.13MB, 138 pp. -  0.0/10 2 4 6 8 10 (-) - V/V/V - 143×⇩ - jsnfmn

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 Essay - Second Part
#20948 - 16.34MB, 176 pp. -  0.0/10 2 4 6 8 10 (-) - V/V/V - 97×⇩ - jsnfmn

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 Plates
#20949 - 5.97MB, 20 pp. -  0.0/10 2 4 6 8 10 (-) - V/V/V - 110×⇩ - jsnfmn

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 La Danse Macabre Full Score
#20950 - 14.23MB, 46 pp. -  0.0/10 2 4 6 8 10 (-) - V/V/V - 284×⇩ - jsnfmn

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 Synopsis - Additions and Corrections
#20951 - 0.66MB, 2 pp. -  0.0/10 2 4 6 8 10 (-) - V/V/V - 93×⇩ - jsnfmn

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jsnfmn (2008/8/15)

Publisher. Info. Paris: Brandus et Cie., 1852
Copyright
Public Domain [tag/del/mrg]
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General Information

Work Title Les danses des morts
Alternative. Title Grande ronde
Composer Kastner, Jean-Georges
I-Catalogue NumberI-Cat. No. IJK 3
Movements/SectionsMov'ts/Sec's essay, 7 movements:
  1. La Mort (this movement does not have a separate name)
  2. L'Empereur
  3. L'Aïeule
  4. Le Soldat
  5. La Nonne
  6. Le Riche
  7. L'Enfant
Year/Date of CompositionY/D of Comp. 1852
First Publication. 1852
Librettist Édouard Thierry (1813-1894)
Language French
Dedication A la Majesté Frédéric Guillaume IV, Roi de Prusse
Composer Time PeriodComp. Period Romantic
Piece Style Romantic
Instrumentation v7 ocal soloists
Orchestra: 2 flutes (1 doubling piccolo), 2 oboes,
2 clarinets in C and A, 2 bassoons, 4 horns in A, E, G, C, and D,
2 soprano saxhorns in C, bass saxhorn in C, 2 trumpets in A grave C, and D,
3 trombones, timpani, percussion (triangle, cymbals, tam tam, bass drum), harp, strings, organ ad lib

Navigation etc.

  • Grove Music lists this as being a theoretical essay followed by a choral work, but the vocal parts look more like solo roles. There is only one line per movement, it doesn't have the normal division of multiple voices, and it is unlikely to be unison chorus.
  • The movements, apart from the first one, are named after the role that is sung, and in all but L'Empereur, La Mort comes back to sing, but never with the other role.
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