The Classics: Camille Saint-Saëns’ “Danse Macabre”

In this modern age, overlooking the classics is too easy. It’s also unfortunate, as classical composers are responsible for some of the most beautiful, stirring, and compelling pieces of music we have.

Alright, you spooky bitches, this is one for your Halloween playlists.

This time of year, one can easily find themes of death throughout pop culture, from horror movies with immortal vampires or reanimated corpses to musical mainstays like “Thriller.” But before there were Halloween movie marathons and playlists, there was composer French Camille Saint-Saëns in 1874 with “Dance Macabre,” which means “dance of death.”

The piece is a symphonic poem based on a French legend that’s all-too-appropriate for this holiday, as though the title wasn’t enough of a clue — Death himself rises at midnight on Halloween, bringing skeletons with him right from their eternal resting places, for a dance as he plays his fiddle until the sun rises. Saint-Saëns was inspired by an actual poem, as well, written by Henri Cazalis.

Zig, zig, zig, Death in cadence,
Striking with his heel a tomb,
Death at midnight plays a dance-tune,
Zig, zig, zig, on his violin.

The winter wind blows and the night is dark;
Moans are heard in the linden-trees.
Through the gloom, white skeletons pass,
Running and leaping in their shrouds.

Zig, zig, zig, each one is frisking.
The bones of the dancers are heard to crack-
But hist! of a sudden they quit the round,
They push forward, they fly; the cock has crowed.

The piece begins with the jarring notes of a violin before becoming a sweeping, enthralling work, alternately upbeat and melancholy — it’s easy to imagine anyone, dead or alive, dancing, particularly as it comes to its highest points. In its brightest moment, “Danse Macabre” is lively, full of the delightful sounds of a party, but it’s quick to remind you that this party is, in fact, for the dead. It’s a joy to listen to from beginning to end, never losing its power or beauty.

“Danse Macabre” has since become Saint-Saëns most-performed work, and understandably so. It’s a majestic, at times intense piece of music, and despite its dark, seasonally fitting themes, it deserves to be heard year-round.