The genesis of the piece comes from various sources, firstly the European folk …show more content…
In representations of the Totentanz, Death was portrayed as playing a trumpet; Reinhold Hammerstein advocates this is because traditionally Judgement Day iconography of the “Trumpet sounding” summoning souls to be judged. (Hammerstein, 1980) This led to illustrations of the Totentanz as a dance towards death.
Other art forms based on the Totentanz gradually evolved including decorative woodcuts, accompanied by texts detailing “Death’s” personal message to each person. Hans Holbein’s series of 41 wood-cuttings entitled Totentanz show the Danse Macabre and the Last Judgement. According to Sharon Winlhofer the Totentanz’s variations relate to characters depicted in that series of prints. (Winklhofer, …show more content…
Dies Irae had been known to be part of notations from the 12th, 13th, and 15th centuries and according to Kees Vellekoop possibly having even earlier roots. (Vellekoop, 1978). It is distinguished by its canonic counterpoint, accentual stress and its rhymed lines and a trochaic metre. The poem describes Judgement Day, the last trumpet summoning souls before God, where those saved will rise and the rest be cast into eternal