Not long afterward, the family returned to Trieste , and his father, Ferdinando, a professional clarinetist, went on tour. My father was a simple virtuoso on the clarinet , who liked to play fantasias on Il Trovatore and the Carnival of Venice ; he was a man of incomplete musical education, an Italian and a cultivator of the bel canto. I can only compare it to a mysterious revelation. In this way he educated me to be a "German" musician and showed me the path that I never entirely deserted, though at the same time I never cast off the Latin qualities given me by nature.
|Published (Last):||14 March 2010|
|PDF File Size:||18.65 Mb|
|ePub File Size:||2.81 Mb|
|Price:||Free* [*Free Regsitration Required]|
A child prodigy , largely taught by his father, he began performing and composing at the age of seven. In an autobiographical note he comments "My father knew little about the pianoforte and was erratic in rhythm, so he made up for these shortcomings with an indescribable combination of energy, severity and pedantry. His first performances in Vienna were glowingly received by the critic Eduard Hanslick. After leaving Vienna, he had a brief period of study in Graz with Wilhelm Mayer , and conducted a performance of his own composition Stabat Mater, Op.
Other early pieces were published at this time, including settings of Ave Maria Opp. He also continued to compose, and made his first attempt at an opera, Sigune, which he worked on from to before abandoning it. He composed Kultaselle "To the Beloved" for cello and piano for her BV ; published in without an opus number. Petersburg Conservatory. Gerda joined him in Moscow where they promptly married. But living in Moscow did not suit the Busonis for both financial and professional reasons; he felt excluded by his nationalistically inclined Russian colleagues.
So when Busoni received an approach from William Steinway to teach at the New England Conservatory of Music in Boston, he was happy to take the opportunity, particularly since the conductor of the Boston Symphony Orchestra at that time was Arthur Nikisch , whom he had known since when they performed together at a concert in Vienna.
After a year he resigned from the Conservatory and launched himself into a series of recitals across the Eastern US. The result was to force on him a re-evaluation of the potential of Italian musical traditions which he had so far ignored in favour of the German traditions, and in particular the models of Brahms and the orchestral techniques of Liszt and Wagner.
He had earlier felt unsympathetic toward the city: in an letter to Gerda he had described it as "this Jewish city that I hate, irritating, idle, arrogant, parvenu ". As in the previous two years in the USA, the composer had to depend for his living on exhausting but remunerative tours as a piano virtuoso; in addition at this period he was remitting substantial amounts to his parents, who continued to depend on his income.
His first concerts in London, in , met with mixed comments. The Musical Times reported that he "commenced in a manner to irritate the genuine amateurs [i. Hoffmann , first performed to a lukewarm reception in Berlin in Couling suggests the programming of the concerts was "generally regarded as a provocation". In he was invited by Duke Karl-Alexander of Weimar to lead a masterclass for fifteen young virtuosi. This concept was more amenable to Busoni than teaching formally in a Conservatory: the twice-weekly seminars were successful and were repeated in the following year.
Pupils included Maud Allan , who later became famous as a dancer and remained a friend. But arguments with the Directorate of the Vienna Conservatoire, under whose auspices the classes were held, soured the atmosphere. Arnold Schoenberg , with whom Busoni had been in correspondence since , settled in Berlin in partially as a consequence of Busoni lobbying on his behalf. The posting proved unsuccessful. Bologna was a cultural backwater, despite occasional visits from celebrities such as Isadora Duncan.
After the outbreak of World War I, in August , he asked for a year of absence to play an American tour; in fact he was never to return. Virtually his sole permanent achievement at the school was to have modernized its sanitary facilities. The piece is based on melodies and rhythms from various American Indian tribes; Busoni derived them from a book he had received from his former pupil, the ethnomusicologist Natalie Curtis Burlin during his tour of the USA. The work was premiered with Busoni as soloist in March , in Berlin.
As a native of a neutral country Italy living in Germany, Busoni was not greatly concerned, at first, by the outbreak of war. During this period, he began to work seriously on the libretto for his proposed opera Doktor Faust. In January he left for a concert tour of the USA, which was to be his last visit there.
During this time he continued work on his Bach edition, including his version of the Goldberg Variations. Busoni therefore chose to base himself from in Switzerland. Andreae arranged for Busoni to give concerts with his orchestra. The two were premiered together in Zurich in May After the end of the war, he again undertook concert tours in England, Paris and Italy. Busoni was sufficiently impressed to write a letter of recommendation for Sorabji. His health began to decline, but he continued to give concerts.
His main concern was to complete Doktor Faust, the libretto of which had been published in Germany in In he wrote "Like a subterranean river, heard but not seen, the music for Faust roars and flows continually in the depths of my aspirations".
Health permitting, he continued to perform; problems of hyperinflation in Germany meant that he needed to undertake tours of England. A plaque at the site commemorates his residence. Their second son Lello, an illustrator, died in New York in The solution of a problem, once found, cannot be reapplied to a different context. Our art is a theatre of surprise and invention, and of the seemingly unprepared.
The spirit of music arises from the depths of our humanity and is returned to the high regions whence it has descended on mankind. The musicologist Percy Scholes wrote that "Busoni, from his perfect command over every means of expression and his complete consideration of every phrase in a composition to every other phrase and to the whole, was the truest artist of all the pianists [I] had ever heard.
Violin Partita No.2 in D minor, BWV 1004 (Bach, Johann Sebastian)
Kazitaur Chaconne, transcription for piano… Details AllMusic Topics covered include 1 doublings: I can bacu compare it to a mysterious revelation. Bach-Busoni, Chopin, Franck, Schumann. Van Cliburn Competition Excellent exercise for intonation and left-hand agility. In Busoni began learning to play the piano nusoni the family was living in Parisbacj before his fourth birthday. Arranger Colin Peter Snuggs. Quoted and cited by Sitskyp.