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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. 4’) The essence of Busoni’s music lies in its synthesis lively theme shared between woodwind and strings, the of his Italian and German ancestry: emotion and brass hinting at a fanfare–like motif which presently 3 (†) intellect; the imaginative and the systematic. Despite comes into its own as it provides the basis for an Rondò arlecchinesco, Op. 46 (‘Elegie No. 3’) (1915) 13:00 acclaim from both composer and performer colleagues, extensive development. This in turn heads into a his music long remained the preserve of an informed strenuous fugato section that turns decisively towards 4 Clarinet Concertino in B flat major, Op. 48 (1918) (*) 11:56 few – its aesthetic significance often acknowledged but the minor, before an expectant transition brings back the scarcely reflected in the frequency of its performance. initial ideas which are duly reprised. The fanfare motif Neither inherently conservative nor aggressively is now recalled by woodwind as the momentum builds 5 Divertimento for flute and orchestra, Op. 52 (1920) (**) 8:57 radical, his harmonic and tonal innovations were bound towards a triumphal apotheosis (with even a nod in the up with an essentially re-creative approach to the direction of Handel) that sees the work through to its musical past that has only gained wider currency in resolute conclusion. 6 Tanzwalzer, Op. 53 (1920) 12:06 recent decades, and which has also seen renewed Six of Busoni’s later orchestral works constitute a interest in his music. series of ‘Elegies’, without forming a self-contained Busoni’s orchestral output has itself been slow to gain group as such. First of these is Berceuse élégiaque of wider hearings, which may be for one particular reason. 1909 [8.555373] that is commonly regarded as the (*) (**) Aside from the monumental Piano Concerto [Naxos composer’s single finest achievement, followed by Giammarco Casani, Clarinet • Laura Minguzzi, Flute 8.572523] and four suites including the Turandot Suite Nocturne symphonique of 1912-13, which stretches his († ) [8.555373], these works tend to be short single- harmonic and tonal innovations to their limits. After Gianluca Terranova, Tenor movement pieces that are hard to programme within the this, Rondò arlecchinesco – composed between April context of orchestral concerts as a whole. The present disc and June 1915 as a preparatory study for the one-act Orchestra Sinfonica di Roma gathers together six of them from over a span of 23 years, comic opera Arlecchino – might seem something of a during which time Busoni alighted on the basis, then reversion, yet its bracing wit and sardonic humour feel Francesco La Vecchia gradually refined, the principles of the ‘young’ or no less forward-looking than either of its more earnest renewed classicism that was thereafter to inform his predecessors. thinking along with all the music from his maturity. An angular trumpet motif leads off a lively and Earliest of these pieces is the Lustspielouvertüre imaginatively scored procession, with strings and which Busoni composed at a single sitting on 11th July percussion hinting at the martial rhythm that is to pervade much of the music. A mock-impassioned passive writing for the solo instrument being as soloist and orchestra good-naturedly pursue each The chorale-like opening on brass and strings has a fanfare for brass and drums brings a speculative passage complemented by the deft scoring for chamber forces in other through to a nonchalant close. mock portentousness which provides an ideal foil for for woodwind then resonant brass chords induce a more music that epitomizes more than any other those ideals Composed between September and October of the the main waltz that, after an eruptive brass gesture, soulful response from strings. Woodwind add a of Mozartian clarity and poise the composer instilled in same year, Tanzwalzer is the latest work featured here elegantly unfolds on woodwind over pizzicato chords. questioning commentary, before the music breaks into a his later music. Formally, too, the piece impresses and closest in spirit to the earliest piece on this Strings presently join in this equable dialogue, before a canter and the earlier animation resumes. A darting through a skilful compression of the customary three recording. The dedication ‘to the memory of Johann hectic galop bursts in with brass and percussion to the motion on strings brings renewed momentum, curtailed movements into a single entity. Strauss II’ is at once in earnest and in affection: the fore. Reaching a lively culmination, it passes to a more by the unexpected entry of a tenor, whose vocalise puts The briefest of introductions heralds the soloist in a sequence of waltzes is clearly derived from that easeful waltz on woodwind and lower strings which strings and percussion to flight until only the latter’s beguiling theme which soon draws the orchestral forces favoured by the ‘waltz-king’ himself, while the thematic unfolds with real panache before making way for a more martial rhythm remains. into an elegant dialogue. This presently heads into a evolution across the piece as a whole is replete with a rhythmic waltz that draws in the whole orchestra. Although composed between August and December livelier passage that itself closes with a recollection of knowing humour that is never ominous or threatening as Aspects of earlier themes flit across the music before the of the same year, Gesang vom Reigen der Geister (Song the opening bars, after which the soloist has a reflective in the manner of Ravel’s near-contemporary La valse . return of the initial waltz effects an increasingly of the Spirit Dance) could hardly be more different. The melody commented on by woodwind over a halting Moreover, the work displays its ready wit and energetic coda. most refined as well as intangible of these ‘Elegies’, it is pizzicato accompaniment. Upper strings at length extroversion to a greater extent than any other from also the last of a trilogy inspired by Amerindian folklore provide an evocative counterpoint, before the Busoni’s final years. Richard Whitehouse and musical culture – following on from the Indian increasingly animated response of the soloist brings Fantasy for piano and orchestra and the Indianisches with it a piquant new theme on woodwind. This gathers Tagesbuch (Indian Diary), Book 1 , for solo piano: the momentum until it emerges engagingly on strings and present work subsequently being designated the solo clarinet carouses its way to a spirited yet still Indianisches Tagesbuch, Book 2 . Scored for chamber restrained close. forces, the texture has a delicacy and transparency that Following on from the above work in May 1920, the parallel a musical content as elusive as in any of the Flute Divertimento is comparable in its formal lucidity Giammarco Casani more overtly radical compositions from this period. The and expressive clarity, though here the music has a more work makes discreet use of a spirit dance-song of the capricious and unpredictable manner that reflects not Born in Viterbo in 1973, Giammarco Casani graduated at the Santa Cecilia Conservatory in Rome in 1994 and then entered the Accademia Chigiana to study chamber music with Alain Pawnees, which recalls the Indian massacre of Wounded only on the nature of the solo instrument but on a m i Knee on 29th December 1890. Busoni’s rôle as teacher and mentor to the younger C Meunier. He continued his musical studies with Andrew Marriner and Alessandro Carbonare. a r generation of composers; not least Kurt Weill, who a In 2002 he was appointed Principal Clarinet with the Rome Symphony Orchestra. Since then, It begins with an undulating motion in lower strings S : o and woodwind that gradually rises upwards through the undertook a transcription of this piece for flute and t he has toured the world, appearing in major concert halls throughout Europe (Berlin, o h orchestra as it opens outward harmonically. Strings and piano, and whose music from the early 1920s most P Brussels, Madrid, St Petersburg, Vienna, Salzburg and London) as well as worldwide, from woodwind continue their shadowy interplay while a clearly embodies the intense but never impersonal Brazil to China.
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