Ferruccio Busoni – The Six Sonatinas: An Artist’s Journey 1909-1920 – his language and his world

Jeni Slotchiver

This is the concluding second Part of the author’s in-depth appreciation of these greatly significant piano works. Part I was published in our issue No 1504 July- September 2015.

t summer’s end, 1914, Busoni asks for artists in exile from Europe. Audiences are A a year’s leave of absence from his in thin supply. He writes to Edith Andreae, position as director of the Liceo Musicale June 1915, “I didn’t dare set to work on in Bologna. He signs a contract for his the opera… for fear that a false start American tour and remains in Berlin over would destroy my last moral foothold.” Christmas, playing a Bach concert to Busoni begins an orchestral comp- benefit charities. This is the first all-Bach osition as a warm-up for Arlecchino, the piano recital for the Berlin public, and Rondò Arlecchinesco. He sets down ideas, Dent writes that it is received with hoping they might be a useful study, if all “discourteous ingratitude.” Busoni outlines else fails, and writes, “If the humour in the his plan for Dr. Faust, recording in his Rondò manifests itself at all, it will have a diary, “Everything came together like a heartrending effect.” With bold harmonic vision.” By Christmastime, the text is language, Busoni clearly defines this complete. With the outbreak of war in composition as his last experimental work. 1914 and an uncertain future, Busoni sails The years give way to compassionate to New York with his family on 5 January, reflection. The war will change him. shoulder. Mature Busoni compositions 1915. He writes to Egon Petri: “When shall In America, Busoni completes Sona - mirror the composer’s ontological state, as we ever meet again? This state of tina ad usum infantis Madeline M.* well as his temporal environment. There uncertainty (Planlosigkeit), after ten years Americanae, pro Clavicimbalo comp- are no dated sketches or surviving of deliberate constructive work, at the osita, Red Indian Diary, the Rondò manuscripts. The piece is published in climax of my vital strength, is the hardest Arlecchinesco, his editions of Bach’s Well- 1916 and performed by Busoni on 6 of all blows to bear!” He is battling Tempered Klavier Book 2, and Goldberg November, 1917, at Tonhalle in Zurich. disillusionment, yet hopes to proceed with Variations. Sonatina ad usum infantis is probably his opera Arlecchino. Modelled on 16th Each Sonatina has a Latin title and completed shortly before the composer’s century puppet plays, the composition is bears a dedication. With Sonatina ad Red Indian Diary, dated 20 June, 1915. an organic link to Dr. Faust. Busoni takes usum infantis Madeline M.* America - Busoni references Sonatina ad usum the two librettos with him. His letters nae, pro Clavicimbalo composita, infantis as, “A sonatina for a child which describe a growing isolation: “When one Busoni obscures the dedicatee, omitting itself has the air of a child.” Considering is no longer master of one’s own freedom her full name. A photograph of Madeline the catastrophic times, it is a rite of of movement, life has no further value.” Manheim, dated 1918, was found among purification, a cleansing of self-doubt and He abhors the provincial limitations of his papers in Berlin. She was a friend of uncertainty. He introduces a composition American audiences, and expresses fear Busoni’s eldest son, Benvenuto. He had with clear and simple melodies, gentle that the war in Europe will cause cultural American citizenship, born during one of harmony and transparent beauty. This destruction. He is consumed by a his father’s extended teaching and concert Sonatina is not for a child, but graciously paralysing anxiety about the future, and tours. Busoni composes Sonatina ad warm, and disarmingly uninhibited. Busoni this precipitates a desperate emotional usum infantis in America and perhaps writes to Edith Andreae in 1916: “My state. Busoni writes, “I shall never over - meets her then. The portrait of Madeline heart… is in a state of adolescence again; come this criminal amputation on my life.” Manheim shows a beautiful young shy and full of longing and lacking practical At a time when the composer’s attention woman with a thoughtful expression. The impact.” is tightly focused on the realisation of a title hints at the Sonatina’s encapsulated The subtitle is pro Clavicimbalo comp- masterwork, Busoni is obliged to proceed innocence, and offers an insider’s view of osita (harpsichord). Busoni plays the with the scheduled tour, and in so doing; the composer’s ability to regenerate his piece on piano and the long silky legatos, he nervously anticipates a creative youthful enthusiasm. Now, he sees the with sustained pedal harmonies, con trad- drought. Compounding these difficulties, world as a wide-eyed child, without the ict a harpsichord touch. The writing style Mephistophelean cynic looking over his points towards the rich warm tone of

New York is deluged with celebrated ▼

MUSICAL OPINION QUARTERLY JANUARY-MARCH 2016 7 the piano, yet the elegant ornamentation (un poco cerimonioso). of four compositions written in Zurich, is reminiscent of a remote past. By using The Molto tranquillo and the Andant - with Dr Faust material. the term ‘harpsichord’ the composer ino melancolico pair as prelude and The Sonatina in diem nativitatis Christi designates a youthful piano, constructing fughetta. The Vivace (alla Marcia) has two MCMXVII is a profound work. The manu- a symbolic recapitulation to an earlier variations with a brief coda. The fourth script, a modest eight pages, has enor- period of time, recalling Gregorian chant, movement restates the Molto tranquillo mously condensed emotional material. and the pure lines of Palestrina. This is theme, ascending towards the lumines - The entire composition maintains a Busoni’s Gothic harmony, and the lang - cent transfiguration of a chorale motif, serene beauty. Fortes are rare, emerging uage of Arlecchino as well as Sonatina in drawn from the first movement. This brief from Busoni’s characteristic long lyrical diem nativitatis Christi MCMXVII. passage serves as unifying bridge to the lines, blended arpeggiated strands, and The third Sonatina’s visionary aspects elegant and enchanting Polonaise. sonorous chorale reverberations. The are significant. After 1900, Busoni begins The third Sonatina is born at a time melody is marked dolce. In a gently to use a pure form of polyphony (‘free when Busoni attempts to toss off his rocking three meter, the bass is slightly off polyphony’). He often combines this brooding spirits and re-enter his creative centre, entering with the melody on the technique with the development of mel - journey with Dr Faust. Despite his opera’s third beat of each measure. Although odic and constructive materials, forming quasi-autobiographical elements, the lyrically dolce, the music is not reassuring. motifs of usually two or three notes. In his composer believes personal hardships An oscillating broken-chord strand rises definitive study of Busoni’s piano music, could poison an objective perspective. from the quasi-berceuse accompaniment the composer-scholar Larry Sitsky traces After nine torturous months in America, and begins to sound quietly subversive, all musical material used in Sonatina ad Busoni returns to Europe and settles in implying an underlying menace. A usum infantis to the opening few bars of Zurich, where he completes Arlecchino, structurally inverted motif from the Pezzo the composition. An exceptionally integ- classifying the composition as a “Marion- serioso of the Piano Concerto smoothly rated work, motifs are treated to rhythmic etten Tragödie.” Dent writes that the punctuates the end of this oscillating variation, augmentation, inversion and composer feels it is his “most individual figure. First impressions of calm stability other techniques used by great masters. and personal work,” and describes it as a give way. Characteristic of a medieval folk Busoni is cognisant and hopeful for the satire on war and human failings. Reality song, a contrasting theme enters in path of new music, when he writes his and illusion fuse. Grim humour combines intervals of fourths, articulated above un treatise on ‘Absolute Melody’, 1913. with fantasy and philosophical paradox, poco vivace triplets. This melody reaches Prophetically, this very style becomes resulting in a labyrinth of meanings and a crescendo with four chiming F major widely popular after the Second World finely interwoven themes. chords, adamant and painful. This stag - War. Busoni describes ‘Absolute Melody’: This is the era of Stravinsky’s Petrushka, nant chord passage, mirroring Busoni’s “A row of repeated ascending and Schoenberg’s Pierrot Lunaire, and the toy death motif, fades to a restatement of the descending intervals, which are organised boxes of Debussy and Fauré. ‘Commedia opening thematic material. The next and move rhythmically. It contains in itself dell’ Arte’ returns to the stage in the 20th passage remembers the veiled world of a latent harmony, reflects a mood of century. Despite the popular tide, Busoni the Elegies. The right hand weaves a feeling.” He further explains that express- has a long attraction to 16th century Lisztian figured accompaniment, falling ion does not depend on a text or puppet plays; he is enthralled with the and rising above lyrical, sotto voce bass accompanying voices and declares, “It marionettes’ contra-human characteristics. octaves. These low melodic lines are must be maintained here that melody has Contrasting the outward gentle beauty prayerful and questioning, while shifting expanded continuously, that it has grown of Sonatina ad usum infantis, the fourth harmonies glaze the transparent atmos- in line and capacity for expression and that Sonatina retreats inward. Busoni dedicates phere. The music seems to be moving in the end it must succeed in becoming Sonatina in diem nativitatis Christi towards a resolution. The singing octaves the most powerful thing in composition.” MCMXVII (1917) to his son Benvenuto. crescendo to the opening theme, Busoni’s discourse on ‘Young Classicism’, The composer gives the premier in Zurich augmented and passionately restrained. contained in a letter to Paul Bekker, 1920, on 24 January, 1920. A critical review The theme eventually subsides, dissolving gives further insights into his crusade for reads: “Ringing of bells and Christmas into the opening lullaby. the future of music. Busoni calls for “The atmosphere seen with the eyes and felt A single line rises out of the lowest definite departure from what is thematic with the heart of an artist shaken by the tones of the broken-chord accompani- and the return to melody again as the griefs of the world.” Busoni is isolated, ment, floating plaintively, a memorial to ruler of all voices and all emotions … and broken hearted from his exile and wearied the Sonatina seconda. This melodic as the bearer of the idea and the begetter by the mounting ravages of war. He is also strand is transformed, as if Busoni views it of harmony, in short, the most highly concerned for Benvenuto, who is called to from a great distance, while always developed (not the most complicated) military service in America. The fourth carrying it with him. The apparition imparts polyphony.” Sonatina, titled and dated ‘Christmas a feeling of rest and security. A chorale There are five numbered and conn - 1917’, is not a Holiday tribute, it is the unfolds as an ancient investigation, still ected movements: 1. Molto tranquillo composer’s plea for peace. Busoni turns and meditative. Low bells toll, accompany 2. Andantino melancolico 3. Vivace (alla away from the world and embarks on an the chorale, and contain a latent rhythm, Marcia) 4. Molto tranquillo 5. Polonaise intense period of creativity. This is the first while sounding timeless. A rustic medieval

8 JANUARY-MARCH 2016 MUSICAL OPINION QUARTERLY dance, harmonically monotonous, enters. The dance dissipates into rhythmically augmented basses, marked ritenendo and suspended by continuous pedals. The chorale returns in a questioning dialogue with muffled bell tones. The closing section combines the theme in 4-part fugue, and disintegrates within a triplet accompaniment. In the final section, marked quasi transfigurato, the theme is resplendent, augmented and stated three times in rapturous bell-like clarity. Treble – tenor –- treble, ending on A with ancient open fifths. Bleakness and apprehension give way to hope and firm foundation. The Sonatina in diem nativitatis Christi, reminiscent of late Liszt, illustrates Busoni’s ability to convey vastly profound feeling states, with very few gestures. The composer is at his peak, with a magnif - icently refined technique and crystallised thought process. He creates music of weightlessness, and communicates emotions of unfathomable density. Sonatina brevis in Signo Joannis Sebastiani Magni (in freier Nachdich- tung von Bach’s Kleiner Fantasie und Fuge d-moll) is found at the end of the seven-volume Bach-Busoni edition, a testament to the singular importance the composition holds for the composer. The Bach editions occupy all of Busoni’s adult life and range from visionary recastings of The Sonatina in diem the great original works, to the imm - easurable wisdom recorded in his edition nativitatis Christi, reminiscent of the Well-Tempered Klavier Book 2. There are two separate collections of of late Liszt, illustrates Busoni’s Bach editions. In 25 Volumes, the Klavierwerke (1894-1923) presents Busoni’s ability to convey Bach’s complete keyboard works. The vastly profound feeling other collection is a six-volume publication from 1916, and holds Busoni’s trans- states, with very few gestures criptions and arrangements. A seventh volume is added to the six-volume set and these are published in 1920. A post - humous eighth (1925) is the second Tempered Klavier. There are, eighteen Fugue in E flat major BWV 552, the edition of Busoni’s Klavierübung. short Preludes and a Fughetta BWV 924- Toccatas and Fugues in D minor BWV The 1916 and 1920 editions differ only 42, a revised version of the Two-part and 565, and C major BWV 564, and ten in the addition of the seventh volume, Three-part Inventions from the 1892 Choral Preludes. The Chaconne for solo which has all new material. The comp - publication, Four Duets BWV 802-5, and violin is also found in this edition. The ositions in Volume 1 and 2, Bearbeit - Prelude, Fugue and Allegro in E flat major transcriptions in Volume 3 date from the ungen, are arrangements. Volume I, BWV 998. Volume 2 has, the Chromatic 1880s through 1909. Lehrstücke, are study pieces, and Volume Fantasia and Fugue, Concerto for piano The works in Volume 4 are Nachdich - 2, Meisterstücke, contains compositions and strings in D minor, and the Goldberg tungen, original compositions based on for concert use. Volume 1 opens with a Variations. Volume 3 holds the virtuoso motifs or themes from Bach. These are, dedication, Widmung. This miniature transcriptions of organ works. These are, Fantasia nach Johann Sebastian Bach combines the tones B.A.C.H. with the C the Prelude and Fugue in D major BWV (Alla Memoria di mio Padre Ferdinando major Fugue from Book I of the Well- 532, the ‘St. Anne’ Prelude and Triple Busoni † il 12 Maggio 1909 †), and ▼

MUSICAL OPINION QUARTERLY JANUARY-MARCH 2016 9 Pianos on ‘Wie wohl ist mir’, and new versions of the puzzle canons from Musical Offering. The final work is Sonatina in Signo Joannis Sebastiani Magni, a Nachdichtung of the little Fantasy and Fugue BWV 905, found earlier in this same volume in its original form. Just as Widmung dedicates the seven volumes, the fifth Sonatina is Busoni’s signature on his completed effort. Throughout his life, Busoni returns to Bach’s works for inspiration and re - discovery, believing the music is both essential and potential. As a child, Bach is his favourite composer, and this is where he learns the art of structure and counterpoint. From earliest youth, Busoni was a natural, intuitive contrapuntist; he would joyfully combine unrelated themes to a victorious solution. By age ten, he had already developed prodigious skill imp- rovising polyphonically. The prophetic original compositions based on Bach themes and fragments, known as Nachdichtungen, stand as monument to a lifetime of study. Nach- dichtungen expose the thinking process and colossal imagination behind many of Busoni’s compositions, and confirm his creative perspective as intuitive, rather than intellectual. These structural master - pieces embody a free, visionary aesthetic, grounded in the composer’s artistic ideals and his philosophical concept of the ‘omnipresence of Time’. For Busoni, the past and future are one, and in the Nachdichtungen, they are inseparable. Busoni looks back for structure and counterpoint. He looks to the future, and frees polyphony from strict control, elevating it, both melodically and con- structively, above harmony. The freed polyphony and the constructive adven - tures produce a new, fluid harmony. The Fantasia, Fugue, Andante and Scherzo, in Busoni’s seventh volume of Preludio, Fuga e Fuga figurata, from An composers: my testament.” the 1920 Bach editions, constitutes a die Jugend. A realization of the Capriccio Volume 7 is compiled in 1920 and has, synthetic grouping of Bach’s compos- on the Departure of a beloved Brother three Toccatas BWV 914-916, and a itions. Busoni feels they are related by BWV 992 bears a dedication to Arthur critical edition of the Fantasie and Fugue thematic material and key structures, and Schnabel. Fantasia, Adagio and Fuga in C in A minor BWV 904, dedicated to Hugo encourages their unity as an effective minor, and Fantasia Contrapuntistica Leichtentritt in appreciation for his 1916 concert piece. In this presentation, Busoni (Versio minore and Versio definitivo) Busoni biography. Here is Busoni’s comments on the Fugue: “The counter- round off this heroic collection. Volume 5, creative grouping of three separate Bach subject appears as a fragment of an originally published in 1894, is the Well- pieces; Fantasia and Fugue BWV 905, obvious canonical leading which has not Tempered Klavier Book 1, while Volume Andante BWV 969, and Scherzo BWV been developed.” He suggests an app- 6 is devoted to the Well-Tempered Klavier 844. There follows, a transcription for cello ropriate realization, and in the Sonatina Book 2. Busoni notes: “Bach’s ‘well- and piano of the Chromatic Fantasia and brevis, the Fantasia and Fugue are tempered’, Part 1 for pianists, Part 2 for Fugue (1917), Improvisation for two eloquently combined with unrestricted

10 JANUARY-MARCH 2016 MUSICAL OPINION QUARTERLY use of his proposed solution. falling sevenths. The Fugue subject freedom. He observes that Parisians do Sonatina brevis in Signo Joannis becomes a cantus firmus, disguised not judge a person according to their Sebastiani Magni, composed in August among 16th-note accompanying figures. dress, personal wealth, or private compan - 1918, is dedicated to Philipp Jarnach. A In the closing section, the falling ionship. Nine solo and orchestral concerts series of musical signatures are combined seventh motif inverts, rising purposefully. are sold out: “I shall never forget it. Not as in a short, ‘brevis’, composition. The score In this form, the motto releases its a virtuoso but as a human being, I sensed consists of five printed pages. The music darkness, and speculates the reversal of this tremendous devotion from a public is rich in material, colour, texture and fortune. As with Sonatina in diem that scarcely knew me, in a spoilt and design, and there is a transparency in the Nativitatis, a coda announces a benev- hardened capital city, as something quite natural improvisatory character of the olent transfiguration. These final bars are phenomenal...the applause continued all piece. One thought flows, and binds into closely tied to Vorspiel II, Dr. Faust (Adagio evening.” On 25 March, He describes the another, a continuous organic improvis- Theme). Expectations of a tranquil ending audience for his compositions’ concert as, ation. The Sonatina brevis is a meditation fail, when a cadence breaks off without “very concentrated then increasingly on the future of 20th century polyphony. resolution. The sevenths fall, and Sonatina enthusiastic...with the finest understanding Marked Andante, espressivo e brevis ends ambiguously, in an unstable and greatest warmth…one of the most Sostenuto, a canonic chain of sustained A major. wonderful evenings of my life…the end falling sevenths opens the Sonatina The final conclusions of peace are of the concert was indescribable, people brevis. A common Bach figure (melody made in the spring of 1919, and Busoni stood up and shouted…the orchestra extracted from a series of diminished is able to travel once more. The Zurich performed miracles.” seventh chords), these sevenths are also years allow the composer an intense While in Paris, Busoni finds many ways one of Busoni’s signatures, his Merlin period of productivity, and although to occupy himself, including composition. motif. The sevenths serve as structural comfortably settled, he cannot plan for the He writes to Phillip Jarnach, 10 March, “As material for the ‘Students’ Theme’, and future. Dent speaks of Busoni’s growing a gesture of thanks to my host I am trying announce the arrival of Megaeros, the fifth isolation and oppressive loneliness. He is to construct a brief Carmen fantasy, an spirit of hell, in Dr. Faust. In Sonatina cut off from his great cosmopolitan world. interesting pastime.” The overwhelming brevis, the sevenths are wrapped around He misses his friends and students, he is response of the Parisians leaves him “very a three-note motif. This three-note motif lost without his beloved library, and he inspired and full of ideas.” With the city at is found in many Busoni compositions, longs for provocative artistic stimulation. his feet, Busoni completes his sixth and it is one of Bach’s signatures as well. Concerned that the majority of life is Sonatina on 22 March, 1920. He writes, These notes are a transposition of the first already behind him, Busoni experiences a “The little Carmen fantasy is finished – It three notes of the second Kyrie from mounting anxiety, his depression deep- is 12 pages long, with five themes and Bach’s B Minor Mass, a work recognised ens. He writes to Isidor Phillip, “For four four short sections.” for its dualistic nature. Another provocative years I have lived in a state of inward The dedication to Kammer-Fantasie characteristic of the Mass, as it relates to hostility towards this remote world, from über Bizet’s Carmen (Sonatina super Sonatina brevis, is the transcription- which I have shut myself off. While judging Carmen) reads En souvenir d’estime et transformation aspect. Albert Schweitzer it to have become uncivilised, I have de reconnaissance, à Monsieur Tauber, lists six sections of the B minor Mass as perhaps become uncivilised myself. On Paris, Mars 1920. Busoni met Leonhard ‘rearrangements’, and describes them as, the other hand I think that my art has Tauber in Klagenfurt. Tauber was owner of “Not mere transfers…it is more correct to become more subtle, and that it an inn and frequently heard the young speak of their being suggested by the expresses all that remains ‘good’ within Busoni play. He becomes a successful original than borrowed from it.” Sch- me.” He begins to think of his future, hotelier, has many musician friends, and weitzer’s observation applies to Busoni’s “Zurich is exhausted, and now that peace owns the luxurious Hotel Foyôt in Paris Nachdichtungen as well. The sevenths is concluded...I see that it is time for me where the Busonis often stay. Their letters and the three-note motif serve as to make an end of its limitations.” He gives are evidence of their close friendship, and structurally unifying elements in various a series of five concerts in Zurich and on the composer’s final visit to Paris, in sections of Sonatina brevis. They makes plans for appearances in 1923, he dedicates his ‘study for symbolically join the musical souls of Bach Paris and London. the Steinway piano with the and Busoni. Busoni writes to Phillip third pedal’ to Tauber. The Fugue subject enters in the second Jarnach from Paris, 10 Sonatina super Carmen is section of the composition, Poco più March, 1920, “After the …On the other hand written while Busoni is mosso, ma tranquillo. Natural extensions sanatorium existence of staying at Tauber’s home, of the subject’s melodic material produce Zurich, Paris has a I think that my art during his series of adventurous harmony, the result of the liberating effect. It is like orchestral and solo recitals. vertical realisation of polyphonic develop- a homecoming for me to has become more Busoni gives the first ment. The falling sevenths return and find life on the grand subtle, and that it performance at Wigmore bridge the third section, Tema dell’ scale again.” He is Hall in London, on 22 Andante. Highly developed counterpoint renewed in this vibrant expresses all that June, 1920. blends all elements: the Fugue subject, city, where he has Busoni plans Carmen the three-note motif of the Andante, the always enjoyed a certain remains ‘good as early as 1917. He ▼

MUSICAL OPINION QUARTERLY JANUARY-MARCH 2016 11 loves Bizet’s French opera more than any significant. The final sust - My heart is bursting, while somber deep contemporaneous Italian opera. In his ained tones of Sonatina bells toll the spectral essay titled, ‘Mozart’s Don Giovanni and brevis melt into silence, I leave my sons fragments of a diss - Liszt’s Don Juan Fantasy’, he proposes: “If easily embracing the ipated dance rhythm. it were a question of the paraphrase of opening pizzicato thirds of behind, I am going Carmen and Busoni Carmen, the transcriber, following Liszt’s Sonatina super Carmen. exemplify Jung’s ‘shad- example, would begin with the suggestive Fate motifs play a major role – at 54 – into the ow’ to the object of scene in the marketplace in Act IV, and in in both compositions, and society. Both are liber - the introduction as contrast to this, would the two Sonatinas also pair for unknown. ated outsiders. Carmen’s join the pathetic Carmen theme built on their interchangeable duality, both uninhibited nature and the gypsy scale. The middle section would internal to themselves, and in relation to unrestrained sensuality have portentous be composed of the Habañera (followed each other. The Sonatina brevis is Bach, implications, making the character a by variations), the finale, the bull-ring encapsulating many of Busoni’s strong symbolic companion to artists and music.” The final version is larger than the Germanic traits, yet it is lyrically flowing, philosophers in their pursuit of an anti- one imagined in his essay. Busoni under- light, and flexible. The Sonatina super pragmatic ideal. stands that the Opera Paraphrase in Liszt’s Carmen, with Liszt as creative source, In 1947 Kaikhosru Sorabji comments hands is more than a presentation of celebrates Busoni’s Mediterranean on Busoni’s Sonatina super Carmen: selected melodies for virtuoso display. The lyricism. At the same time, the sixth “I feel the metapsychic element to be visionary aspects of Liszt’s skills transform Sonatina is dark, with clearly ordered present to a degree and intensity unpar - the Opera Paraph rase. Liszt’s paraphrases sections. Busoni said, “Truly Bach is the all eled in music… The gay and occas- are dramas in condensed settings, they Alpha of pianoforte composition and Liszt ionally rather trivial Bizet tunes become project the emotions of the actual staged the Omega.” indescribably ‘charged’ and even sinister, event, and bring a story to life. Busoni did not intend Carmen for undergoing a sort of dissolution and Busoni often composes lighter ‘anti- virtuoso exhibitionism, although the transformation that is… fascinating and dotes’ to serious works in an effort to writing is extravagantly demanding. haunt ing to the mind of the suitably achieve a creative equilibrium. In 1920, Edward J. Dent emphasises that, Busoni ‘attuned listener,’ so that at the end of the he wrote the orchestral Tanzwalzer would never draw attention to difficult, process one almost says to oneself – such (inspired by Johann Strauss) ‘for fun’, as extraneous passages in order to display is the impression of the ineluctable and an antidote to the powerful Toccata for his colossal technique. He was a master immense power behind the whole piano. Music from both the Toccata and of melody, subjugating surrounding voices business – this is a psychical invasion in the Tanzwalzer contain potent Dr Faust to an endless spectrum of imaginative musical terms.” material and appear in the opera. Although colors. With Sonatina super Carmen, Busoni inspired by other composers’ ideas, The bright opening material, Allegro demonstrates his characteristic ability to Carmen and Tanzwalzer are completely deciso, comes from the chorus of Act IV. rejuvenate his spirits. He shakes off the original in Busoni’s formats: These ‘light’ Staccato octaves and double-thirds flutter horror of war years and the desolation of compositions are shadowed, sometimes in canonic variations. The second section, exile, he momentarily releases himself obliquely, other times intrinsically. The Andantino con amore, is a free from the intense journey with his master music’s sinister whispers escape the arrangement of José’s Flower Song from work, Dr. Faust, and he sets aside his most casual listener. Act II scene 2. The melody is in the tenor pressing concern: For over a year, Busoni Kammer-Fantasie über Bizet’s Carmen voice, while the right and left hands spin is unable to decide where the next (Sonatina super Carmen) opens in A darkly glittering ornamental arpeggios. The chapter of life will take him. He ends his major, inextricably linking itself to Sonatina Carmen theme enters at the end of this letter to Phillip Jarnach, “ ‘Home’? - the brevis. For Busoni, the keys of A and C are section with a subtle, gloomy presence, a word invokes all the problems awaiting fateful premonition. This leads to the third me; and this time I shall ignore them.” section, where the Habanera from Act I is Busoni is inundated with offers, and there treated to a series of variations. Any are many cities he loves. His torturous expectation of a light operatic fantasy ends indecision ends when he accepts an here. The variations, one marked appointment from the Prussian Ministry of fantastico, flicker with malice, and what Education. He will return to Berlin and appears in the opera as a lusty celebration direct a class for advanced composition at of life, here, has the essence of a gleeful the State Academy of Arts and Sciences. dance of death. The material of the fourth He writes to Isidor Phillip from Zurich, section is taken from the Prelude to Act 1. 7 September, 1920, “My heart is bursting, The familiar tune becomes mocking and I leave my sons behind, I am going - at increasingly malignant. The fifth section is 54 – into the unknown.” ■ marked Andante visionario. The fate theme, from the end of the second section, now levitates above the des - cending chromatic scale of the Habanera, © 2015 by Jeni Slotchiver

12 JANUARY-MARCH 2016 MUSICAL OPINION QUARTERLY