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Ferruccio Busoni Biography
Ferruccio Busoni His Life And Times Beginnings Youth in Italy The Prodigy is Heard Busoni as Composer Free at Last First Experiences Marriage Busoni as Editor Hitting his Stride Busoni as Conductor Masterpiece Unveiled America again Turandot /Die Brautwahl The Author Debuts Back on the Road Paris, D’Annunzio Opera’s Seduction Liceo Rossini War in Europe The Artist at 50 The Last Years Final Enthusiasms Last Days FERRUCCIO BUSONI - HIS LIFE AND TIMES The Busoni heritage begins in Spicchio, a little village on the north bank of the Arno, inhabited mainly by barge-men, one of whom bore the name. The family is thought originally to have come from Corsica. Though reasonably well-off in their day, the Busonis fell on hard times, and upon the father’s death, moved to Empoli. Additional misfortune followed when the second son of three, Giovanni Battista also died later of a long illness in 1860, his wife following shortly thereafter. From this group of three sons, it would be the eldest, Ferdinando who would produce the artist the world learned to know and cherish. In Empoli his siblings became prosperous makers of felt hats, but Ferdinando would have none of that. He hid himself in corners to read the classics and practice the clarinet. Nothing would alter his intention to be a musician of prominence; he was capricious, self-willed, hot-tempered and impatient. These qualities would, lifelong, result in a reputation as difficult, highly-strung, opinionated, quarrelsome and to some a jeffatore...the possessor of the “evil eye.” He was largely self-taught, attained a high degree of proficiency on his instrument, adopted a career as a travelling virtuoso. -
Universiv Micrcsilms International
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Rehearsal and Concert
SYMPHONY HALL, BOSTON HUNTINGTON (S-MASSACHUSETTS AVENUES . ( Ticket Office, 1492 Telephones^ , { ^^"^^„, ^^^n„„ j Administration Offices, 3200 } THIRTIETH SEASON, 1910 AND 1911 MAX FIEDLER, Conductor Programme of % Sixteenth Rehearsal and Concert WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE FRIDAY AFTERNOON, FEBRUARY 17 AT 2.30 O'CLOCK SATURDAY EVENING, FEBRIjARY 18 AT 8.00 O'CLOCK COPYRIGHT, 1910, BY C. A. ELLIS PUBLISHED BY C. A.ELLIS, MANAGER 1165 WM. L, WHITNEY International School for Vocalists BOSTON NEW YORK SYMPHONY CHAMBERS 134 CARNEQIB HALL 246 HUNTINGTON AVE. CORNER OF 57th AND 7th AVB. PORTLAND HARTFORD Y. M. C. A. BUILDING HARTFORD SCHOOL OF MUSIC CONGRESS SQUARE 8 SPRING STREET 1166 Boston Symphony Orchestra PERSONNEL Thirtieth Season, 1910-1911 MAX FIEDLER, Conductor Violins, WItek. A., Roth, 0. Hoffmann, J. Canctrt-masUr. Kuntz, D. Krafft, F. W. Noack, S. JM.R^MW^AWR.^ Rw R« «^ MM.M.M w* R« ^n wiiw iw iw'iui iu» w im & Perfection m Piano Making 5 feet long THE Quarter Grand Style V, m ngurea Mahogany, price ^650 It is tut five :^eet long and in Tonal Proportions a Masterpiece or piano building. It is Ckickering ^ Sons' most recent triumpn, tke exponent of EIGHTY-SEVEN YEARS experience in artistic piano building, and tne neir to all tke qualities tbat tke name or its makers implies. CHICKERING ^ SONS Established 1823 791 TREMONT STREET, Comer Northampton Street, near Mass. Ave. BOSTON !Si wteimirw Mi.ioi lAi imwK mm kMW}i mttfwivwwWvwVtfwvVwVtfrtoVMi^ffi 1168 THIRTIETH SEASON, NINETEEN HUNDRED TEN AND ELEVEN ^txt^wtif S^lf^arsal attb Qlotir^rl FRIDAY AFTERNOON, FEBRUARY 17, at 2.30 o'clock SATURDAY EVENING, FEBRUARY J8, at 8 o'clock PROGRAMME Wagner Prelude to "Lohengrin" Strauss . -
Producing Evidence for the Beatification of a Composer: Sorabji’S Deijication of Busoni’
Producing Evidence for the Beatification of a Composer: Sorabji’s DeiJication of Busoni’ BY MARC-ANDRÉ ROBERGE There has been in recent years an upsurge of interest in the music of a number of nineteenth and twentieth-century composer-pianists who have long been considered outsiders in European music history, such as Charles-Valentin Alkan (1813-88), Ferruccio Busoni (1866-1924), Leopold Godowsky (1870-1938) and Kaikhosru Shapurji Sorabji (1892-1988). Their status as outsiders resulted mainly from the length and complexity of several of their works and from the lack of clear boundaries between original composition and transcription, in which they had a marked interest. Their works, even though they still appear but rarely on concert programmes, are now performed with increasing frequency. First editions or reprints of their music are issued with some regularity, as are books and articles; furthermore, several enterprising pianists are now recording interesting works and masterpieces long kept in the shadow for lack of suitable performers. As I have shown elsewhere,* all these composers are part of an extensive “Busoni network”, i.e. a group of composers and performers who can be linked in one or more ways to Busoni and, to a lesser extent, to Sorabji: they had studied with Busoni or with one of his pupils; they had performed works by Busoni or Sorabji; they had written about either composer; they had transcribed or edited one or more of their works; finally, they incorporated quotations from their works into their own compositions or used them as models. To this core group of (mostly English- speaking) composers could be added numerous editors, musicologists and writers (also mostly English-speaking) as well as friends and disciples of the composers of the network. -
Orchestra Catalog 2017-2018.Pdf
European Critical & Urtext Editions available at URTEXT Editions provide you with the assurance that the compositions have been well researched and the musical text is as faithful as possible to the composer's intentions. All parts are engraved and printed on quality paper. The nominal increase in cost is far outweighed by the benefits you receive! D Barenreiter Breitkopf & Hartel Carus-Verlag Doblinger Henle Universal Large Sc Set Set of Extra Rental /Mini Sc Type Parts Strs Price ABACO, E. dall’ - 01001 Four Concerti da Chiesa for Strings Op. 2, Nos. 4,5,8 & 9 (piano in sc) ................ 30.00 D 65.00 5.00 09843 Concerto All’unisono in b flat, Op. 2, No. 8 (R. Luck) (str, cem) .....RENTAL ONLY 65.00 09844 Concerto All’unisono in A, Op. 2, No. 10 (R. Luck) (str, cem) .........RENTAL ONLY 65.00 09845 Conc. a Piu Instrumenti in E, Op. 6/2 (R. Luck) (1-1-1/1/1/1, cem) .. RENTAL ONLY 85.00 09846 Conc. a Piu Instrumenti in F, Op. 6/3 (R. Luck) (1-1-1/1/1/1, cem) .. RENTAL ONLY 75.00 09847 Conc. a Piu Instrumenti in F, Op. 6/6 (R. Luck) (1-1-1/1/1/1, cem) .. RENTAL ONLY 90.00 07725 Concerto Da Chiesa, Op. 2, No. 4 (Bonelli) (str, pf) ................................................ 10.00 D 33.75 2.25 11575 Concerto for Two Violins, Viola & BC, Op. 2, No. 5 (Kehr) (cem in sc) (5/5/3/3/2) .. 22.00 M 50.00 ABEL, KARL F. - 00661 Cello Concerto in B flat (Lomnitzer) (solo in set, cem in sc) .................................. -
FERRUCCIO BUSONI AS a COMPOSER by HUGO LEICHTENTRITT
FERRUCCIO BUSONI AS A COMPOSER By HUGO LEICHTENTRITT T is a common experience in the history of arts that the world Downloaded from will fail to appreciate an artist, however famous he may be, I as soon as he shows an ambition to distinguish himself in a field of activity alien to the one in which he acquired his first fame. Thus it happened to Franz Liszt. His pianistic genius was admired without reserve, unanimously, all the world over, http://mq.oxfordjournals.org/ but in his capacity as a composer he had to combat most serious opposition throughout his Hie, and even now there is a considerable divergence of opinion on this topic, although the importance of Liszt the composer has become sufficiently manifest. Similarly, Ferruccio Busoni is esteemed as a pianist of the first order, but his remarkable achievements as a composer are hardly appreciated at their full value. It is the purpose of the present essay to analyze the rather complicated character of Busoni the composer, at Ryerson University on June 17, 2015 to characterize his art, to show its development and to appraise its importance. The artistic career of Busoni may be sketched briefly by way of introduction. Ferruccio Busoni was born on April the 1st, 1866, in Empoli, near Florence. His father was Italian, his mother partially of German descent; this racial mixture in their son is also clearly evident in his compositions, and one of their principal character- istics. He commenced as a child-prodigy, like most of the great musicians. Piano-playing and composition were equally familiar to him, and his skill in both was remarkable even in the years of boyhood. -
BUSONI Orchestral Works
BUSONI ORCHESTRAL WORKS John Bradbury clarinet Nelson Goerner piano Neeme Järvi Ferruccio Busoni, Zürich, Switzerland, 1917 Ferruccio Busoni,Zürich,Switzerland, Museo internazionale e biblioteca della musica di Bologna / AKG Images, London / De Agostini Picture Library / A. Dagli Orti Ferruccio Busoni (1866 – 1924) Orchestral Works COMPACT DISC ONE Orchestral Suite No. 2, Op. 34a, K 242 ‘Geharnischte Suite’ (1895, revised 1902 – 03) 21:38 Den ‘Leskowiten’ in Helsingfors (1889) 1 I Vorspiel (Prelude). An Jean Sibelius. Allegro moderato e deciso – Più lento – Alla breve, un poco maestoso – Tempo I – Un poco agitato – Vivacemente – Furioso – Più lento – Sehr ruhig 5:52 2 II Kriegstanz (War Dance). An Adolf Paul. Allegro risoluto – Agitato – Quasi presto agitato e deciso – Presto 3:26 3 III Grabdenkmal (Funeral Monument). An Armas Järnefelt. Andante grave – Molto tranquillo 5:30 4 IV Ansturm (Assault). An Eero Järnefelt. Allegro impetuoso – Un poco tranquillo – Allegretto marziale – Più animato – Un poco maestoso ma sempre con moto 6:50 3 5 Berceuse élégiaque, Op. 42, K 252a (1909) 7:43 Des Mannes Wiegenlied am Sarge seiner Mutter (A man’s cradle-song at his mother’s bier) (Elegie No. 1) Poesie ‘Poesy’ for sixfold string ensemble with mutes, 3 flutes, 1 oboe, 3 clarinets, 4 horns, gong, harp, and celesta In memoriam Anna Busoni, n. Weiss, m. 3. Oct. MCMIX Andantino calmo – Calmissimo Concertino for Clarinet and Small Orchestra, Op. 48, K 276 (1918)* 10:10 in B flat major • in B-Dur • en si bémol majeur Dedicated to Edmondo Allegra 6 Allegretto sostenuto – Tranquillo – Un poco animato – 2:52 7 Andantino – Adagio – 3:29 8 Allegro sostenuto – Un poco meno sostenuto – 2:17 9 Allegro – Tempo di minuetto, sostenuto e pomposo 1:29 4 Sarabande and Cortège, Op. -
Piano Literature Exam: Repertoire List
DMA PIANO LITERATURE EXAM: Repetoire List - page 1/10 John Adams (b. 1947) Aria and Variations in the Italian style Phrygian Gates Keyboard concertos (BWV 1052-58) China Gates Wilhelm Friedheim Bach (1710-84) Isaac Albéniz (1860-1909) Various solo works and concertos Iberia - Fête-dieu à Seville, Triana, El Albaicín Mily Balakirev (1837-1910) Suite española (1886) Islamey Recuerdos de viaje Cantos de España Samuel Barber (1910-1981) Navarra, Azulejos Piano Sonata Spanish Rhapsody for piano and orchestra Piano Concerto Excursions Charles Alkan (1813-1888) Souvenirs Various works Nocturne Ballade Anton Arensky (1861-1906) Various works Béla Bartók (1881-1945) Piano Concerto Suite, Op. 14 Piano Sonata Milton Babbitt (1916-2011) Out of Doors Suite Three Compositions (1947) Piano Concertos, Nos. 1-3 - No. 2, No. 3 Partitions (1957) Allegro Barbaro Lagniappe (1985) Improvisations on Hungarian Peasant Songs, 2 Piano Concertos Op. 20 Various other works Two Romanian Dances, Op. 8a 15 Hungarian Peasant Songs Carl Philipp Emanuel Bach (1714-88) Three Etudes, Op. 18 6 Prussian Sonatas Mikrokosmos, I-VI 6 Württemberg Sonatas Rhapsody for piano and orchestra, Op. 1 Various other solo works and concertos Scherzo for piano and orchestra, Op. 2 Johann Christian Bach (1735-82) Ludwig van Beethoven (1770-1827) Various solo works and concertos 32 Piano Sonatas 32 Variations in C Minor (WoO 80) Johann Sebastian Bach (1685-1750) 6 Variations on an Original Theme in F 6 English Suites - am, gm, em Major, Op. 34 6 French Suites - cm, E, G Variations and Fugue on an Original Theme Well-Tempered Clavier, Books I and II in Eb Major (‘Eroica’), Op. -
Download Booklet
Ferruccio Busoni (1866-1924) Eine Lustspielouvertüre • Gesang vom Reigen der Geister • Clarinet Concertino Flute Divertimento • Tanzwalzer • Rondò arlecchinesco Ferruccio Dante Michelangeli Benvenuto Ferruccio Busoni was 1897 (and which was revised four years later). His born at Empoli, near Florence, on 1st April 1866, the reference to its being ‘Mozartian’ in style was hardly only child of an Italian clarinettist father and a pianist coincidental, as the work marked a decisive move away BUSONI mother of German ancestry. He made his debut as a from the Brahmsian and Wagnerian influences on his (1866-1924) pianist in Trieste in 1874, going to Vienna for study the music from the previous decade towards a lighter and following year. On the advice of Brahms he moved to more flexible idiom such as draw on Mozart, Weber and Berlin in 1886, studying with Carl Reinecke. Mendelssohn without being beholden to any 1 Eine Lustspielouvertüre, Op. 38 (1897) 7:01 Performance was to occupy much of his attention until predecessor. Whether or not inspired by a specific play the turn of the century, when composition assumed or novel, this ‘Comedy Overture’ is indeed permeated greater importance, though never dominance, in his by a fusion of the Italian and Germanic traits from 2 Gesang vom Reigen der Geister, Op. 47 (1915) 7:39 career. Apart from a period spent in Zurich during the Busoni’s musical ancestry. First World War, he lived in Berlin from 1894 until his The piece itself unfolds as an ingeniously death on 27th July 1924. compressed sonata-form movement. It opens with a (from Indianisches Tagebuch , Book 2, ‘Elegie No. -
Ferruccio Busoni – the Six Sonatinas: an Artist’S Journey 1909-1920 – His Language and His World
Ferruccio Busoni – The Six Sonatinas: An Artist’s Journey 1909-1920 – his language and his world Jeni Slotchiver Part I of an in-depth appreciation of these greatly significant piano works The summer’s accomplishments also inc- lude several transcriptions of Bach’s he Six Sonatinas, written between 1910 ado Springs: “No year in my life has been Chorale Preludes and a musical comedy Tand 1921, are Busoni’s finest and most so full up as this one which is just over: libretto titled Frau Potiphar. In addition, compelling collection of composit ions. the richest in work, experiences and Busoni writes his explorative treatise, Although they are not programmatic in achieve ments – and I feel that I am still Attempt at an Organic Notation for the any aspect, the set tells a cohesive story going upwards. Everything good, my Pianoforte, and prepares new material for of an artist’s journey. These are deeply Gerda, is with us.” The date is 1 April, an anticipated second edition of his personal, quasi-autobiographical comp os- 1910, and the composer marks his 44th Outline of a New Aesthetic of Music. He itions: each Sonatina serves as chronicle, birthday surveying a year of fertile and begins orchestration on his important and marks a gathering and culmination of extravagant artistic discovery. opera, Die Brautwahl and in July, com- Busoni’s spiritual searchings and growth. In December 1908, Busoni composes pletes Act 1 part 1. Fluid and timeless, the Sonatinas also the sparkling miniature for piano, Nuit de The Berceuse élégiaque is inscribed in encompass Busoni’s temporal world. -
Ferruccio Busoni As a Composer
Early Journal Content on JSTOR, Free to Anyone in the World This article is one of nearly 500,000 scholarly works digitized and made freely available to everyone in the world by JSTOR. Known as the Early Journal Content, this set of works include research articles, news, letters, and other writings published in more than 200 of the oldest leading academic journals. The works date from the mid-seventeenth to the early twentieth centuries. We encourage people to read and share the Early Journal Content openly and to tell others that this resource exists. People may post this content online or redistribute in any way for non-commercial purposes. Read more about Early Journal Content at http://about.jstor.org/participate-jstor/individuals/early- journal-content. JSTOR is a digital library of academic journals, books, and primary source objects. JSTOR helps people discover, use, and build upon a wide range of content through a powerful research and teaching platform, and preserves this content for future generations. JSTOR is part of ITHAKA, a not-for-profit organization that also includes Ithaka S+R and Portico. For more information about JSTOR, please contact [email protected]. FERRUCCIO BUSONI AS A COMPOSER By HUGO LEICHTENTRITT IT is a common experiencein the history of arts that the world will fail to appreciate an artist, however famous he may be, as soon as he shows an ambition to distinguish himself in a field of activity alien to the one in which he acquired his first fame. Thus it happened to Franz Liszt. His pianistic genius was admired without reserve, unanimously, all the world over, but in his capacity as a composer he had to combat most serious opposition throughout his life, and even now there is a considerable divergence of opinion on this topic, although the importance of Liszt the composer has become sufficiently manifest. -
Ferruccio Busoni – the Six Sonatinas: an Artist’S Journey 1909-1920 – His Language and His World
Ferruccio Busoni – The Six Sonatinas: An Artist’s Journey 1909-1920 – his language and his world Jeni Slotchiver Part I of an in-depth appreciation of these greatly significant piano works The summer’s accomplishments also inc- lude several transcriptions of Bach’s he Six Sonatinas, written between 1910 ado Springs: “No year in my life has been Chorale Preludes and a musical comedy Tand 1921, are Busoni’s finest and most so full up as this one which is just over: libretto titled Frau Potiphar. In addition, compelling collection of composit ions. the richest in work, experiences and Busoni writes his explorative treatise, Although they are not programmatic in achieve ments – and I feel that I am still Attempt at an Organic Notation for the any aspect, the set tells a cohesive story going upwards. Everything good, my Pianoforte, and prepares new material for of an artist’s journey. These are deeply Gerda, is with us.” The date is 1 April, an anticipated second edition of his personal, quasi-autobiographical comp os- 1910, and the composer marks his 44th Outline of a New Aesthetic of Music. He itions: each Sonatina serves as chronicle, birthday surveying a year of fertile and begins orchestration on his important and marks a gathering and culmination of extravagant artistic discovery. opera, Die Brautwahl and in July, com- Busoni’s spiritual searchings and growth. In December 1908, Busoni composes pletes Act 1 part 1. Fluid and timeless, the Sonatinas also the sparkling miniature for piano, Nuit de The Berceuse élégiaque is inscribed in encompass Busoni’s temporal world.