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140-408: Bösendorfer built the first Imperial in 1909, following a suggestion by composer Ferruccio Busoni to build a model with an extended range. Busoni sought to extend the range to accommodate his transcription of Johann Sebastian Bach 's organ works. In order to emulate the 32 foot registers available on some large organs, he needed the entire octave down to C0. The Bösendorfer Imperial features 97 keys:

280-416: A violin concerto . Antony Beaumont notes that Busoni wrote virtually no chamber music after 1898 and no songs between 1886 and 1918, commenting that this was "part of the process of freeing himself from his Leipzig background ... [evoking] worlds of middle-class respectability in which he was not at home, and [in which] the shadows of Schumann, Brahms and Wolf loomed too large." The first decade of

420-640: A book he had received from his former pupil, the ethnomusicologist Natalie Curtis Burlin during his 1910 tour of the US. The work was premiered with Busoni as soloist in March 1914, in Berlin. From June 1914 to January 1915, Busoni was 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

560-434: A companion piece for his revision of Turandot as an opera. He began serious work on his opera Doktor Faust in 1916, leaving it incomplete at his death. It was then finished by his student Philipp Jarnach , who worked with Busoni's sketches as he knew of them. In the 1980s Antony Beaumont created an expanded and improved completion by drawing on material to which Jarnach did not have access; Joseph Horowitz has described

700-495: A composer and the profundity of his theoretical writings make [him] one of the most interesting figures in the history of 20th-century music." The Ferruccio Busoni International Piano Competition was initiated in Busoni's honour in 1949, to commemorate the 25th anniversary of his death. Notes Chamber music Chamber music is a form of classical music that is composed for a small group of instruments —traditionally

840-405: A composition to every other phrase and to the whole, was the truest artist of all the pianists [I] had ever heard." Busoni's works include compositions, adaptations, transcriptions, recordings and writings. Busoni gave many of his works opus numbers ; some numbers apply to more than one work (after the composer dropped some of his earlier works from his acknowledged corpus). Furthermore, not all

980-428: A considerable number of piano rolls ; a few of them have been re-recorded and released on vinyl LP and CD . These include a 1950 recording by Columbia sourced from piano rolls made by Welte-Mignon including music of Chopin and transcriptions by Liszt. The value of these recordings in ascertaining Busoni's performance style is a matter of some dispute. Many of his colleagues and students expressed disappointment with

1120-401: A conversation, often truly beautiful, often oddly and turbidly woven, among four people." Their awareness is exemplified by composer and virtuoso violinist Louis Spohr . Spohr divided his 36 string quartets into two types: the quatuor brillant , essentially a violin concerto with string trio accompaniment; and quatuor dialogue , in the conversational tradition. During the 19th century, with

1260-613: A dancer and remained a friend. His experience in Vienna in 1907 was less satisfactory, although amongst his more rewarding pupils were Ignaz Friedman , Leo Sirota , Louis Gruenberg , Józef Turczyński and Louis Closson; the latter four were dedicatees of pieces in Busoni's 1909 piano album An die Jugend . But arguments with the Directorate of the Vienna Conservatoire, under whose auspices the classes were held, soured

1400-512: A free fantasy in a pianistic style which owes far more to Busoni than to Bach." On the death of his father in 1909, Busoni wrote in his memory a Fantasia after J. S. Bach ( BV 253 ); and in the following year came his extended fantasy based on Bach, the Fantasia contrappuntistica . Busoni wrote a number of essays on music. The Entwurf einer neuen Ästhetik der Tonkunst ( Sketch of a New Esthetic of Music ), first published in 1907, set out

1540-473: A full eight octaves. This is in contrast to their other extended model, the Bösendorfer 225, which has 92 keys (down to F 0 ). The extra keys, which are all at the bass end of the keyboard (that is, to the left), are colored black so that the pianist can tell them apart from the normal keys of an 88-key piano. They were originally covered with a removable panel to prevent a pianist from accidentally playing

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1680-410: A full orchestral section. J. S. Bach: Trio sonata on YouTube from The Musical Offering , played by Ensemble Brillante Baroque chamber music was often contrapuntal ; that is, each instrument played the same melodic materials at different times, creating a complex, interwoven fabric of sound. Because each instrument was playing essentially the same melodies, all the instruments were equal. In

1820-567: A giant of Western music. Beethoven transformed chamber music, raising it to a new plane, both in terms of content and in terms of the technical demands on performers and audiences. His works, in the words of Maynard Solomon , were "...the models against which nineteenth-century romanticism measured its achievements and failures." His late quartets , in particular, were considered so daunting an accomplishment that many composers after him were afraid to try composing quartets; Johannes Brahms composed and tore up 20 string quartets before he dared publish

1960-499: A group that could fit in a palace chamber or a large room. Most broadly, it includes any art music that is performed by a small number of performers, with one performer to a part (in contrast to orchestral music, in which each string part is played by a number of performers). However, by convention, it usually does not include solo instrument performances. Because of its intimate nature, chamber music has been described as "the music of friends". For more than 100 years, chamber music

2100-423: A hall and collecting the receipts from the performance. Increasingly, they wrote chamber music not only for rich patrons, but for professional musicians playing for a paying audience. At the beginning of the 19th century, luthiers developed new methods of constructing the violin , viola and cello that gave these instruments a richer tone, more volume, and more carrying power. Also at this time, bowmakers made

2240-539: A hundred on completion. The next morning, Busoni turned up at Schwalm's office, and asked for 150 marks, handing over the completed work, and saying "I worked from nine at night to three thirty, without a piano, and not knowing the opera beforehand." In 1888, the musicologist Hugo Riemann recommended Busoni to Martin Wegelius , director of the Institute of Music at Helsingfors (now Helsinki , Finland, then part of

2380-454: A hundred string quartets, and more than one hundred quintets for two violins, viola and two cellos. In this innovative ensemble, later used by Schubert , Boccherini gives flashy, virtuosic solos to the principal cello, as a showcase for his own playing. Violinist Carl Ditters von Dittersdorf and cellist Johann Baptist Wanhal , who both played pickup quartets with Haydn on second violin and Mozart on viola, were popular chamber music composers of

2520-609: A keyboard instrument (harpsichord or organ) or by a string quartet or a string orchestra . The instrumentation of trio sonatas was also often flexibly specified; some of Handel's sonatas are scored for " German flute , Hoboy [oboe] or Violin" Bass lines could be played by violone , cello , theorbo , or bassoon , and sometimes three or four instruments would join in the bass line in unison. Sometimes composers mixed movements for chamber ensembles with orchestral movements. Telemann's 'Tafelmusik' (1733), for example, has five sets of movements for various combinations of instruments, ending with

2660-673: A more individual style, often with elements of atonality . His visits to America led to interest in North American indigenous tribal melodies which were reflected in some of his works. His compositions include works for piano, among them a monumental Piano Concerto , and transcriptions of the works of others, notably Johann Sebastian Bach (published as the Bach-Busoni Editions ). He also wrote chamber music , vocal and orchestral works, and operas—one of which, Doktor Faust , he left unfinished when he died, in Berlin, at

2800-502: A more mature style, including the Elegies (BV 249; 1907), the suite An die Jugend (BV 252; 1909) and the first two piano sonatinas , BV 257 (1910) and BV 259 (1912). In a series of orchestral concerts in Berlin between 1902 and 1909, both as pianist and conductor, Busoni particularly promoted contemporary music from outside Germany (though he avoided contemporary music, except for his own, in his solo recitals). The series, which

2940-467: A movement that contended that "pure music" had run its course with Beethoven, and that new, programmatic forms of music –in which music created "images" with its melodies–were the future of the art. The composers of this school had no use for chamber music. Opposing this view was Johannes Brahms and his associates, especially the powerful music critic Eduard Hanslick . This War of the Romantics shook

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3080-634: A music lover and amateur baryton player, for whom Haydn wrote many of his string trios. Mozart wrote three string quartets for the King of Prussia, Frederick William II , a cellist. Many of Beethoven's quartets were first performed with patron Count Andrey Razumovsky on second violin. Boccherini composed for the king of Spain. With the decline of the aristocracy and the rise of new social orders throughout Europe, composers increasingly had to make money by selling their compositions and performing concerts. They often gave subscription concerts, which involved renting

3220-550: A private performance of Schoenberg's Pierrot lunaire which was attended by, amongst others, Willem Mengelberg , Edgard Varèse , and Artur Schnabel . In Paris in 1912 Busoni had meetings with Gabriele D'Annunzio , who proposed collaboration in a ballet or opera. He also met with the Futurist artists Filippo Marinetti and Umberto Boccioni . Following a series of concerts in Northern Italy in spring 1913, Busoni

3360-470: A recitalist initially raised concerns in some of Europe's musical centres. His first concerts in London, in 1897, met with mixed comments. The Musical Times reported that he "commenced in a manner to irritate the genuine amateurs [i.e. music-lovers] by playing a ridiculous travesty of one of Bach's masterly Organ Preludes and Fugues, but he made amends by an interpretation of Chopin's Studies (Op. 25) which

3500-544: A riding accident) whilst on military training, and published an article strongly critical of war. An expanded re-issue of Busoni's 1907 work A New Esthetic of Music let to a virulent counter-attack from the German composer Hans Pfitzner and an extended war of words. Busoni continued to experiment with microtones : in America he had obtained some harmonium reeds tuned in third-tones , and he claimed that he "had worked out

3640-494: A series of further concerts, Busoni later said of this period, "I never had a childhood." In 1875, he made his concerto début playing Mozart's Piano Concerto No. 24 . From the ages of nine to eleven, with the help of a patron, Busoni studied at the Vienna Conservatory . His first performances in Vienna were glowingly received by the critic Eduard Hanslick . In 1877, Busoni heard the playing of Franz Liszt , and

3780-639: A small round cap perched proudly on his thick artist's curls". Between 1888 and 1890, Busoni gave about thirty piano recitals and chamber concerts in Helsingfors; amongst his compositions at this period were a set of Finnish folksongs for piano duet (Op. 27). In 1889, visiting Leipzig, he heard a performance on the organ of Bach 's Toccata and Fugue in D minor ( BWV 565), and was persuaded by his pupil Kathi Petri—the mother of his future pupil Egon Petri , then only five years old—to transcribe it for piano. Busoni's biographer Edward Dent writes that "This

3920-424: A strong connection with the community. Composers were in high favor with orchestral works and solo virtuosi works, which made up the largest part of the public concert repertoire. Early French composers including Camille Saint-Saëns and César Franck . Apart from the "central" Austro-Germanic countries, there was an occurrence of the subculture of chamber music in other regions such as Britain. There chamber music

4060-469: A theme from Giacomo Meyerbeer 's opera Le Prophète ) and concert versions of two of the Hungarian Rhapsodies . Busoni also made keyboard transcriptions of works by Mozart, Franz Schubert , Niels Gade and others in the period 1886–1891 for the publisher Breitkopf & Härtel . Later, during his earliest contacts with Arnold Schoenberg in 1909, he made a 'concert interpretation' of

4200-425: A type of music to be played as much as performed. Amateur quartet societies sprang up throughout Europe, and no middling-sized city in Germany or France was without one. These societies sponsored house concerts , compiled music libraries, and encouraged the playing of quartets and other ensembles. In European countries, in particular Germany and France, like minded musicians were brought together and started to develop

4340-602: A virtuoso pianist in Europe and the United States. His writings on music were influential, and covered not only aesthetics but considerations of microtones and other innovative topics. He was based in Berlin from 1894 but spent much of World War I in Switzerland. He began composing in his early years in a late romantic style, but after 1907, when he published his Sketch of a New Esthetic of Music , he developed

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4480-659: A wealthy Jewish family in Hamburg, Mendelssohn proved himself a child prodigy. By the age of 16, he had written his first major chamber work, the String Octet, Op. 20 . Already in this work, Mendelssohn showed some of the unique style that was to characterize his later works; notably, the gossamer light texture of his scherzo movements, exemplified also by the Canzonetta movement of the String Quartet, Op. 12 , and

4620-434: A work that he felt was worthy of the "giant marching behind". Beethoven made his formal debut as a composer with three Piano Trios, Op. 1 . Even these early works, written when Beethoven was only 22, while adhering to a strictly classical mold, showed signs of the new paths that Beethoven was to forge in the coming years. When he showed the manuscript of the trios to Haydn, his teacher, prior to publication, Haydn approved of

4760-432: Is a long, lyrical solo for cello in the second movement, giving the cello a new type of voice in the quartet conversation. And the last movement of Op. 18, No. 6, "La Malincolia", creates a new type of formal structure, interleaving a slow, melancholic section with a manic dance. Beethoven was to use this form in later quartets, and Brahms and others adopted it as well. Beethoven: Quartet, Op. 59, No. 3 , played by

4900-594: Is based on themes from Georges Bizet 's opera Carmen . Busoni's output on gramophone record as a pianist was very limited, and many of his original recordings were destroyed when the Columbia Graphophone Company 's factory burned down in 1912. Busoni mentions recording the Gounod-Liszt Faust Waltz in a letter to his wife in 1919. This recording was never released. He never recorded any of his own works. Busoni made

5040-662: Is difficult to analyse ... on account of the way in which themes are transferred from movement to another. The work has to be considered as a whole, and Busoni always desired it to be played straight through without interruption." The press reaction to the premiere of the concerto was largely one of outrage: the Tägliche Rundschau  [ de ] complained of "Noise, more noise, eccentricity and licentiousness", while another journal opined that "the composer would have done better to stay within more modest boundaries". The other major work during this "creative pause"

5180-400: Is really something unique. The rest is curiously unconvincing. The recordings, especially of Chopin, are a plain misalliance". Busoni's impact on music was perhaps more through those who studied piano and composition with him, and through his writings on music, than through his compositions themselves, of whose style there are no direct successors. Alfred Brendel has opined: "Compositions like

5320-409: Is so constituted that every context is a new context and should be treated as an 'exception'. 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." Sir Henry Wood

5460-582: Is used for Busoni's transcriptions and cadenzas . For example, BV B 1 refers to Busoni's cadenzas for Beethoven's Piano Concerto No. 4 . In 1917, Hugo Leichtentritt suggested that the Second Violin Sonata Op. 36a ( BV 244 ), completed in 1900, "stands on the border-line between the first and second epochs of Busoni", although van Dieren asserts that in conversation Busoni "made no such claims for any work written before 1910. This means that he dated his work as an independent composer from

5600-457: The B-A-C-H motif . Busoni revised the work a number of times and arranged it for two pianos. Busoni also drew inspiration from North American indigenous tribal melodies drawn from the studies of Natalie Curtis, which informed his Indian Fantasy for piano and orchestra of 1913 and two books of solo piano sketches, Indian Diary . In 1917, Busoni wrote the one-act opera Arlecchino (1917) as

5740-646: The Baroque – two treble instruments and a bass instrument , often with a keyboard or other chording instrument ( harpsichord , organ , harp or lute , for example) filling in the harmony. Both the bass instrument and the chordal instrument would play the basso continuo part. During the Baroque period, chamber music as a genre was not clearly defined. Often, works could be played on any variety of instruments, in orchestral or chamber ensembles. The Art of Fugue by Johann Sebastian Bach , for example, can be played on

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5880-406: The Baroque era , the harpsichord was one of the main instruments used in chamber music. The harpsichord used quills to pluck strings, and it had a delicate sound. Due to the design of the harpsichord, the attack or weight with which the performer played the keyboard did not change the volume or tone. Between about 1750 and the late 1700s, the harpsichord gradually fell out of use. By the late 1700s,

6020-469: The Große Fuge , of the late quartets, as, "...this absolutely contemporary piece of music that will be contemporary forever." The string quartets 1–6, Op. 18 , were written in the classical style, in the same year that Haydn wrote his Op. 76 string quartets . Even here, Beethoven stretched the formal structures pioneered by Haydn and Mozart. In the quartet Op. 18, No. 1, in F major, for example, there

6160-672: The Modigliani Quartet Piano Trio, Op. 70, No. 1, "Ghost" , played by the Claremont Trio In the years 1805 to 1806, Beethoven composed the three Op. 59 quartets on a commission from Count Razumovsky, who played second violin in their first performance. These quartets, from Beethoven's middle period, were pioneers in the romantic style. Besides introducing many structural and stylistic innovations, these quartets were much more difficult technically to perform – so much so that they were, and remain, beyond

6300-514: The Russian Empire ), for the vacant position of advanced piano instructor. This was Busoni's first permanent post. Amongst his close colleagues and associates there were the conductor and composer Armas Järnefelt , the writer Adolf Paul , and the composer Jean Sibelius , with whom he struck up a continuing friendship. Paul described Busoni at this time as "a small, slender Italian with chestnut beard, grey eyes, young and gay, with ...

6440-591: The Tonhalle Orchestra ) and Philipp Jarnach . His friend José Vianna da Motta also taught piano in Geneva at this time. Andreae arranged for Busoni to give concerts with his orchestra. Jarnach, who was 23 when he met Busoni, in 1915, became Busoni's indispensable assistant, among other things preparing piano scores of his operas; Busoni referred to him as his famulus . While in America, Busoni had carried out further work on Doktor Faust , and had written

6580-495: The contrabass . Beethoven: Septet, Op. 20 , first movement, played by the Ensemble Mediterrain In his 17 string quartets, composed over the course of 37 of his 56 years, Beethoven goes from classical composer par excellence to creator of musical Romanticism, and finally, with his late string quartets, he transcends classicism and romanticism to create a genre that defies categorization. Stravinsky referred to

6720-446: The pianoforte became more popular as an instrument for performance. Even though the pianoforte was invented by Bartolomeo Cristofori at the beginning of the 1700s, it did not become widely used until the end of that century, when technical improvements in its construction made it a more effective instrument. Unlike the harpsichord, the pianoforte could play soft or loud dynamics and sharp sforzando attacks depending on how hard or soft

6860-669: The 18th century, tastes began to change: many composers preferred a new, lighter Galant style, with "thinner texture, ... and clearly defined melody and bass" to the complexities of counterpoint. Now a new custom arose that gave birth to a new form of chamber music: the serenade . Patrons invited street musicians to play evening concerts below the balconies of their homes, their friends and their lovers. Patrons and musicians commissioned composers to write suitable suites of dances and tunes, for groups of two to five or six players. These works were called serenades, nocturnes, divertimenti, or cassations (from gasse=street). The young Joseph Haydn

7000-488: The 20th century is described by Brendel as being for Busoni "a creative pause" after which he "finally gained an artistic profile of his own" as opposed to the "easy routine which had kept his entire earlier production on the tracks of eclecticism". During this period, Busoni wrote his Piano Concerto, one of the largest such works he ever wrote in terms of duration and resources. Dent comments "In construction [the Concerto]

7140-469: The Beaumont completion as "longer, more adventurous and perhaps less good." In the last seven years of his life Busoni worked sporadically on his Klavierübung , a compilation of exercises, transcriptions, and original compositions of his own, with which he hoped to pass on his accumulated knowledge of keyboard technique. It was issued in five parts between 1918 and 1922 An extended version in ten books

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7280-519: The Biblical wanderer). The musicologist Antony Beaumont considers Busoni's six Liszt recitals in Berlin of 1911 as the climax of his pre-war career as a pianist. Busoni's performing commitments somewhat stifled his creative capacity during this period: in 1896 he wrote "I have great success as a pianist, the composer I conceal for the present." His monumental Piano Concerto (whose five movements last over an hour and include an offstage male chorus)

7420-544: The Fredonia Quartet Program, July 2008 Schubert's music, as his life, exemplified the contrasts and contradictions of his time. On the one hand, he was the darling of Viennese society: he starred in soirées that became known as Schubertiaden , where he played his light, mannered compositions that expressed the gemütlichkeit of Vienna of the 1820s. On the other hand, his own short life was shrouded in tragedy, wracked by poverty and ill health. Chamber music

7560-578: The Op. 59 quartets, Beethoven wrote two more quartets during his middle period – Op. 74 , the "Harp" quartet, named for the unusual harp-like effect Beethoven creates with pizzicato passages in the first movement, and Op. 95 , the "Serioso". The Serioso is a transitional work that ushers in Beethoven's late period – a period of compositions of great introspection. "The particular kind of inwardness of Beethoven's last style period", writes Joseph Kerman, gives one

7700-506: The age of 58. Ferruccio Dante Michelangiolo Benvenuto Busoni was born on 1 April 1866 in the Tuscan town of Empoli , the only child of two professional musicians, Ferdinando, a clarinettist, and Anna (née Weiss), a pianist. Shortly afterwards, the family moved to Trieste . 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

7840-405: The artistic world of the period, with vituperative exchanges between the two camps, concert boycotts, and petitions. Although amateur playing thrived throughout the 19th century, this was also a period of increasing professionalization of chamber music performance. Professional quartets began to dominate the chamber music concert stage. The Hellmesberger Quartet , led by Joseph Hellmesberger , and

7980-509: The atmosphere. In the autumn of 1910 Busoni gave masterclasses and also carried out a series of recitals in Basel. In the years before World War I, Busoni steadily extended his contacts in the art world in general as well as amongst musicians. Arnold Schoenberg , with whom Busoni had been in correspondence since 1903, settled in Berlin in 1911 partially as a consequence of Busoni lobbying on his behalf. In 1913 Busoni arranged at his own apartment

8120-438: The chamber music instruments. Many of Schumann's chamber works, including all three of his string quartets and his piano quartet have contrapuntal sections interwoven seamlessly into the overall compositional texture. The composers of the first half of the 19th century were acutely aware of the conversational paradigm established by Haydn and Mozart. Schumann wrote that in a true quartet "everyone has something to say ...

8260-559: The composer Kaikhosru Shapurji Sorabji who played his Piano Sonata No. 1 for him (he had dedicated it to Busoni). Busoni was sufficiently impressed to write a letter of recommendation for Sorabji. When Busoni's former pupil Leo Kestenberg , by then an official at the Ministry of Culture in the German Weimar Republic , invited him to return to Germany with the promise of a teaching post and productions of his operas, he

8400-457: The composer's intentions. Busoni adds tempo markings, articulation and phrase markings, dynamics and metronome markings to the originals, as well as extensive performance suggestions. In his edition of Bach's Goldberg Variations (BV B 35), for example, he suggests cutting eight of the variations for a "concert performance", as well as substantially rewriting many sections. Kenneth Hamilton comments that "the last four variations are rewritten as

8540-451: The composer's numbers are in temporal order. The musicologist Jürgen Kindermann has prepared a thematic catalogue of his works and transcriptions which is also used, in the form of the letters BV (for Busoni Verzeichnis ("Busoni Index"); sometimes the letters KiV for Kindermann Verzeichnis are used) followed by a numeric identifier, to identify his compositions and transcriptions. The identifier B (for Bearbeitung , " arrangement ")

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8680-436: The conductor Hermann Scherchen , and others. Busoni died in Berlin on 27 July 1924, officially from heart failure , although inflamed kidneys and overwork also contributed to his death. Doktor Faust remained unfinished at his death and was premiered in Berlin in 1925, completed by Jarnach. Busoni's Berlin apartment was destroyed in an air-raid in 1943, and many of his possessions and papers were lost or looted. A plaque at

8820-687: The depths of my aspirations". Berlin was the heart of the musical world of the Weimar Republic. Busoni's works, including his operas, were regularly programmed. Health permitting, he continued to perform; problems of hyperinflation in Germany meant that he needed to undertake tours of England. His last appearance as a pianist was in Berlin in May 1922, playing Beethoven's Emperor Concerto. Among his composition pupils in Berlin were Kurt Weill , Wladimir Vogel , and Robert Blum, and during these last years Busoni also had contact with Varèse, Stravinsky ,

8960-524: The development of cyclic structure. In his Piano Quintet in E ;flat, Op. 44 , Schumann wrote a double fugue in the finale, using the theme of the first movement and the theme of the last movement. Both Schumann and Mendelssohn, following the example set by Beethoven, revived the fugue, which had fallen out of favor since the Baroque period. However, rather than writing strict, full-length fugues , they used counterpoint as another mode of conversation between

9100-440: The elder composer to say to Mozart's father, "I tell you before God as an honest man that your son is the greatest composer known to me either in person or by reputation. He has taste, and, what is more, the most profound knowledge of composition." Many other composers wrote chamber compositions during this period that were popular at the time and are still played today. Luigi Boccherini , Italian composer and cellist, wrote nearly

9240-649: The emerging romantic style. In his 31 years, Schubert devoted much of his life to chamber music , composing 15 string quartets, two piano trios, string trios, a piano quintet commonly known as the Trout Quintet , an octet for strings and winds , and his famous quintet for two violins, viola, and two cellos. Franz Schubert , Trout Quintet , D. 667, performed by the Chamber Music Society of Lincoln Center Schubert on YouTube : String Quintet in C, D. 956, first movement, recorded at

9380-575: The ethereal, dreamlike effect of open intervals between the high E string and the open A string in the second movement of quartet Op. 132; the use of sul ponticello (playing on the bridge of the violin) for a brittle, scratchy sound in the Presto movement of Op. 131; the use of the Lydian mode , rarely heard in Western music for 200 years, in Op. 132; a cello melody played high above all the other strings in

9520-423: The extra footage in the bass. Ending a piece such as Debussy 's L'isle joyeuse , for example, with its nose-dive final gesture to the low A of the piano, becomes a bit more problematic when that A is not the lowest note on the piano!" Reportedly, "[the] 290 has proved a bit of a temperamental star, sounding harsh and jarring in the hands of pianists who do not understand how to play it and marvellously refined in

9660-484: The extra notes. While the keys are seldom used, the extra bass strings create additional harmonic resonance that contributes to an overall richer sound. Compositions have been written specifically to use the extra keys. Pianist and University of Washington School of Music director Robin McCabe explains the challenge of adjusting to the extra keys: "One's 'southern sight-lines,' so to speak, can be seriously skewed because of

9800-416: The feeling that "the music is sounding only for the composer and for one other auditor, an awestruck eavesdropper: you." In the late quartets, the quartet conversation is often disjointed, proceeding like a stream of consciousness. Melodies are broken off, or passed in the middle of the melodic line from instrument to instrument. Beethoven uses new effects, never before essayed in the string quartet literature:

9940-481: The final, vigorous Presto movement, he returns to the opening adagio to conclude the piece. This string quartet is also Mendelssohn's homage to Beethoven; the work is studded with quotes from Beethoven's middle and late quartets. During his adult life, Mendelssohn wrote two piano trios, seven works for string quartet, two string quintets, the octet, a sextet for piano and strings, and numerous sonatas for piano with violin, cello, and clarinet. Robert Schumann continued

10080-463: The finale of Op. 132. Yet for all this disjointedness, each quartet is tightly designed, with an overarching structure that ties the work together. Beethoven wrote eight piano trios, five string trios, two string quintets, and numerous pieces for wind ensemble. He also wrote ten sonatas for violin and piano and five sonatas for cello and piano. As Beethoven, in his last quartets, went off in his own direction, Franz Schubert carried on and established

10220-570: The financial support of a patron, the Baronin von Tedesco. He also continued to compose, and made his first attempt at an opera, Sigune , which he worked on from 1886 to 1889 before abandoning it. He described how, finding himself penniless in Leipzig, he appealed to the publisher Schwalm to take his compositions. Schwalm demurred, but said he would commission a fantasy on Peter Cornelius 's opera The Barber of Baghdad for fifty marks down, and

10360-502: The first two, but warned against publishing the third trio, in C minor, as too radical, warning it would not "...be understood and favorably received by the public." Haydn was wrong—the third trio was the most popular of the set, and Haydn's criticisms caused a falling-out between him and the sensitive Beethoven. The trio is, indeed, a departure from the mold that Haydn and Mozart had formed. Beethoven makes dramatic deviations of tempo within phrases and within movements. He greatly increases

10500-523: The hands of those who do". Bösendorfer Imperial Concert Grand pianos, handcrafted in Austria, retail for between US$ 256,000 and $ 560,000 in the U.S., depending on finish, design and whether the Disklavier Enspire computer reproducing system is installed. (Bösendorfer's CEUS reproducing system, "Create Emotions with Unique Sound", developed in-house, is more expensive still.) In 1977, the price

10640-515: The independence of the strings, especially the cello, allowing it to range above the piano and occasionally even the violin. If his Op. 1 trios introduced Beethoven's works to the public, his Septet, Op. 20 , established him as one of Europe's most popular composers. The septet, scored for violin, viola, cello, contrabass, clarinet, horn, and bassoon, was a huge hit. It was played in concerts again and again. It appeared in transcriptions for many combinations – one of which, for clarinet, cello and piano,

10780-412: The latter's atonal Piano Piece, Op. 11 , No. 2 (BV B 97) (which greatly annoyed Schoenberg himself). Busoni's own works sometimes feature incorporated elements of other composers' music. The fourth movement of An die Jugend (1909), for instance, uses two of Niccolò Paganini 's Caprices for solo violin (numbers 11 and 15), while the 1920 piece Piano Sonatina No. 6 ( Fantasia da camera super Carmen )

10920-591: The libretto for his proposed opera Doktor Faust . In January 1915 he left for a concert tour of the US, 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 . Upon the composer's return to Europe, Italy had entered the war. Busoni therefore chose to base himself from 1915 in Switzerland. In Zurich, he found local supporters in Volkmar Andreae (conductor of

11060-452: The libretto of his one-act opera Arlecchino . He completed it in Zurich and, to provide a full evening at the theatre, reworked his earlier Turandot into a one-act piece . The two were premiered together in Zurich in May 1917. In Italy in 1916, Busoni met again with the artist Boccioni, who painted his portrait; Busoni was deeply affected when a few months later Boccioni was killed (in

11200-470: The librettos of his four operas. Writing in 1917, Hugo Leichtentritt described Busoni's mature style as having elements in common with those of Sibelius, Debussy, Alexander Scriabin , and Schoenberg, noting in particular his movement away from traditional major and minor scales towards atonality . The first landmarks of this mature style are the group of piano works published in 1907–1912 (the Elegies ,

11340-605: The local authorities. After the outbreak of World War I, in August 1914, 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. He had however during this time composed another concertante work for piano and orchestra, the Indian Fantasy . The piece is based on melodies and rhythms from various American Indian tribes; Busoni derived them from

11480-419: The maxim that "Music was born free; and to win freedom is its destiny". It therefore takes issue with conventional wisdom on music, caricatured by Busoni as the constricting rules of the "lawgivers". It praises the music of Beethoven and JS Bach as the essence of the spirit of music ("Ur-Musik") and says that their art should "be conceived as a beginning , and not as an unsurpassable finality." Busoni asserts

11620-658: The middle of the 19th century, with the rise of the feminist movement, women also started to receive acceptability to be participated in chamber music. Thousands of quartets were published by hundreds of composers; between 1770 and 1800, more than 2000 quartets were published, and the pace did not decline in the next century. Throughout the 19th century, composers published string quartets now long neglected: George Onslow wrote 36 quartets and 35 quintets; Gaetano Donizetti wrote dozens of quartets, Antonio Bazzini , Anton Reicha , Carl Reissiger , Joseph Suk and others wrote to fill an insatiable demand for quartets. In addition, there

11760-474: The monstrously overwritten Piano Concerto  ... obstruct our view of his superlative late piano music. How topical still – and undiscovered – are the first two sonatinas... and the Toccata of 1921 ... Doktor Faust , now as ever, towers over the musical theatre of its time." Helmut Wirth has written that Busoni's "ambivalent nature, striving to reconcile tradition with innovation, his gifts as

11900-484: The musical industry [was to] develop an atmosphere which [Busoni] detested more than the deepest pool of stagnant convention". Berlin proved an excellent base for Busoni's European tours. As in the previous two years in the US, 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. Busoni's programming and style as

12040-526: The noblest persons of our time", and in which he explained that " Falstaff provoked in me such a revolution of spirit that I can ... date the beginning of a new epoch in my artistic life from that time." In 1894, Busoni settled in Berlin, which he henceforth regarded as his home base, except during the years around World War I . He had earlier felt unsympathetic toward the city: in an 1889 letter to Gerda he had described it as "this Jewish city that I hate, irritating, idle, arrogant, parvenu ". The city

12180-485: The organ Toccata and Fugue in D minor , and the Chromatic Fantasia and Fugue . These transcriptions go beyond literal reproduction of the music for piano and often involve substantial recreation, although never straying from the original rhythmic outlines, melody notes and harmony. This is in line with Busoni's own concept that the performing artist should be free to intuit and communicate his divination of

12320-412: The origin of classical instrumental ensembles to be the sonata da camera (chamber sonata) and the sonata da chiesa (church sonata). These were compositions for one to five or more instruments. The sonata da camera was a suite of slow and fast movements, interspersed with dance tunes; the sonata da chiesa was the same, but the dances were omitted. These forms gradually developed into the trio sonata of

12460-459: The performer played the keys. The improved pianoforte was adopted by Mozart and other composers, who began composing chamber ensembles with the piano playing a leading role. The piano was to become more and more dominant through the 19th century, so much so that many composers, such as Franz Liszt and Frédéric Chopin , wrote almost exclusively for solo piano (or solo piano with orchestra ). Ludwig van Beethoven straddled this period of change as

12600-415: The period Busoni undertook teaching at masterclasses at Weimar , Vienna and Basel. In 1900 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

12740-404: The period would consist of Haydn was by no means the only composer developing new modes of chamber music. Even before Haydn, many composers were already experimenting with new forms. Giovanni Battista Sammartini , Ignaz Holzbauer , and Franz Xaver Richter wrote precursors of the string quartet. Franz Ignaz von Beecke (1733-1803), with his Piano Quintet in A minor (1770) and 17 string quartets

12880-439: The period. The turn of the 19th century saw dramatic changes in society and in music technology which had far-reaching effects on the way chamber music was composed and played. Throughout the 18th century, the composer was normally an employee of an aristocrat, and the chamber music he or she composed was for the pleasure of aristocratic players and listeners. Haydn, for example, was an employee of Nikolaus I, Prince Esterházy ,

13020-559: The piano pieces An die Jugend  ... and the Berceuse in its original version for piano." (These works were actually written in 1909.) The Kindermann Busoni Verzeichnis lists over 200 compositions in the period to 1900, which are met with very rarely in the contemporary repertoire or in recording, mostly featuring piano, either as solo instrument or accompanying others, but also including some works for chamber ensemble and some for orchestra, amongst them two large-scale suites and

13160-637: The piano, and of symphonic composition, was not merely a matter of preference; it was also a matter of ideology . In the 1860s, a schism grew among romantic musicians over the direction of music. Many composers tend to express their romantic persona through their works. By the time, these chamber works are not necessarily dedicated for any specific dedicatee. Famous chamber works such as Fanny Mendelssohn D minor Piano Trio, Ludwig van Beethoven's Trio in E-flat major, and Franz Schubert's Piano Quintet in A major are all highly personal. Liszt and Richard Wagner led

13300-538: The pianoforte and was erratic in rhythm, so he made up for these shortcomings with an indescribable combination of energy, severity and pedantry." Busoni made his public debut as a pianist in a concert with his parents at the Schiller-Verein in Trieste on 24 November 1873 playing the first movement of Mozart 's Sonata in C major , and pieces by Schumann and Clementi . Commercially promoted by his parents in

13440-510: The present, chamber music has been a reflection of the changes in the technology and the society that produced it. During the Middle Ages and the early Renaissance , instruments were used primarily as accompaniment for singers. String players would play along with the melody line sung by the singer. There were also purely instrumental ensembles, often of stringed precursors of the violin family , called consorts . Some analysts consider

13580-478: The principles underlying his performances and his mature compositions. A collection of reflections which are "the outcome of convictions long held and slowly matured", the Sketch asserts that "The spirit of an artwork ... remains[s] unchanged in value through changing years" but its form, manner of expression, and the conventions of the era when it was created, "are transient and age rapidly". The Sketch includes

13720-474: The quintet for violin, two violas, cello, and horn, K. 407, quartets for flute and strings, and various wind instrument combinations. He wrote six string quintets for two violins, two violas and cello, which explore the rich tenor tones of the violas, adding a new dimension to the string quartet conversation. Mozart's string quartets are considered the pinnacle of the classical art. The six string quartets that he dedicated to Haydn , his friend and mentor, inspired

13860-436: The reach of many amateur string players. When first violinist Ignaz Schuppanzigh complained of their difficulty, Beethoven retorted, "Do you think I care about your wretched violin when the spirit moves me?" Among the difficulties are complex syncopations and cross-rhythms; synchronized runs of sixteenth, thirty-second, and sixty-fourth notes; and sudden modulations requiring special attention to intonation . In addition to

14000-427: The recordings and felt they did not truly represent Busoni's pianism. Egon Petri was horrified by the piano roll recordings when they first appeared on vinyl and said that they were a travesty of Busoni's playing. Similarly, Petri's student Gunnar Johansen who had heard Busoni play on several occasions, remarked, "Of Busoni's piano rolls and recordings, only Feux follets (no. 5 of Liszt's Transcendental Études )

14140-400: The right of the interpreter vis-à-vis the purism of the "lawgivers". "The performance of music, its emotional interpretation , derives from those free heights whence descended Art itself ... What the composer's inspiration necessarily loses through notation, his interpreter should restore by his own." He envisages a future music that will include the division of the octave into more than

14280-527: The rise of new technology driven by the Industrial Revolution , printed music became cheaper and thus more accessible while domestic music making gained widespread popularity. Composers began to incorporate new elements and techniques into their works to appeal to this open market, since there was an increased consumer desire for chamber music. While improvements in instruments led to more public performances of chamber music, it remained very much

14420-480: The scherzo of the Piano Trio No. 1 in D minor, Op. 49 . Another characteristic that Mendelssohn pioneered is the cyclic form in overall structure. This means the reuse of thematic material from one movement to the next, to give the total piece coherence. In his second string quartet , he opens the piece with a peaceful adagio section in A major, that contrasts with the stormy first movement in A minor. After

14560-526: The second theme, a lilting duet in the lower voices. The alternating Sturm und Drang and relaxation continue throughout the movement. These contending forces are expressed in some of Schubert's other works: in the quartet Death and the Maiden , the Rosamunde quartet and in the stormy, one-movement Quartettsatz, D. 703 . Unlike Schubert, Felix Mendelssohn had a life of peace and prosperity. Born into

14700-567: The site commemorates his residence. Busoni's wife, Gerda, died in Sweden in 1956. Their son Benni, who, despite his American nationality had lived in Berlin throughout World War II, died there in 1976. Their second son Lello, an illustrator, died in New York in 1962. The pianist Alfred Brendel said of Busoni's playing that it "signifies the victory of reflection over bravura " after the more flamboyant era of Liszt. He cites Busoni himself: "Music

14840-488: The suite An die Jugend and the first two piano sonatinas) and Busoni's first completed opera, Die Brautwahl ; together with the rather different Bach homage, the 1910 Fantasia contrappuntistica , Busoni's largest work for solo piano. About half an hour in length, it is essentially an extended fantasy on the final incomplete fugue from Bach's The Art of Fugue . It uses several melodic figures found in Bach's work, most notably

14980-495: The theory of a system of thirds of tones in two rows, each separated from each other by a semitone". Although he met with many other artistic personalities also based in Switzerland during the war (including Stefan Zweig , who noted his extensive drinking, and James Joyce ), Busoni soon found his circumstances limiting. After the end of the war, he again undertook concert tours in England, Paris and Italy. In London, he met with

15120-482: The traditional 12 semitones . However, he asserted the importance of musical form and structure: His idea of a 'Young Classicism' "aimed to incorporate experimental features in "firm, rounded forms" ... motivated each time by musical necessity." (Brendel). Another collection of Busoni's essays was published in 1922 as Von der Einheit der Musik , later republished as Wesen und Einheit der Musik , and in 1957 translated as The Essence of Music . Busoni also wrote

15260-579: The treble and bass lines of the piano score. But Mozart gives the strings an independent role, using them as a counter to the piano, and adding their individual voices to the chamber music conversation. Mozart introduced the newly invented clarinet into the chamber music arsenal, with the Kegelstatt Trio for viola, clarinet and piano, K. 498, and the Quintet for Clarinet and String Quartet , K. 581. He also tried other innovative ensembles, including

15400-399: The trio sonata, there is often no ascendent or solo instrument, but all three instruments share equal importance. The harmonic role played by the keyboard or other chording instrument was subsidiary, and usually the keyboard part was not even written out; rather, the chordal structure of the piece was specified by numeric codes over the bass line, called figured bass . In the second half of

15540-798: The two- and three-part Inventions . In the same year he won the prize for composition, with his Konzertstück ("Concert Piece") for piano and orchestra, Op. 31a ( BV 236 ), at the first Anton Rubinstein Competition , initiated by Anton Rubinstein himself at the Saint Petersburg Conservatory . As a consequence he was invited to visit and teach at the Moscow Conservatoire . Gerda joined him in Moscow where they promptly married. His first concert in Moscow, when he performed Beethoven 's Emperor Concerto ,

15680-468: The violin bow longer, with a thicker ribbon of hair under higher tension. This improved projection, and also made possible new bowing techniques. In 1820, Louis Spohr invented the chinrest, which gave violinists more freedom of movement in their left hands, for a more nimble technique. These changes contributed to the effectiveness of public performances in large halls, and expanded the repertoire of techniques available to chamber music composers. Throughout

15820-455: The way one instrument introduces a melody or motif and then other instruments subsequently "respond" with a similar motif – has been a thread woven through the history of chamber music composition from the end of the 18th century to the present. The analogy to conversation recurs in descriptions and analyses of chamber music compositions. From its earliest beginnings in the Medieval period to

15960-703: Was Arthur Nikisch , whom he had known since 1876 when they performed together at a concert in Vienna. Busoni's first son, Benvenuto (known as Benni), was born in Boston in 1892, but Busoni's experience at New England Conservatory proved unsatisfactory. After a year he resigned from the Conservatory and launched himself into a series of recitals across the Eastern US. Busoni was at the Berlin premiere of Giuseppe Verdi 's opera Falstaff in April 1893. The result

16100-486: Was a lively market for string quartet arrangements of popular and folk tunes , piano works, symphonies, and opera arias . But opposing forces were at work. The middle of the 19th century saw the rise of superstar virtuosi, who drew attention away from chamber music toward solo performance. The piano, which could be mass-produced, became an instrument of preference, and many composers, like Chopin and Liszt, composed primarily if not exclusively for piano. The ascendance of

16240-467: Was also one of the pioneers of chamber music of the Classical period. Another renowned composer of chamber music of the period was Wolfgang Amadeus Mozart . Mozart's seven piano trios and two piano quartets were the first to apply the conversational principle to chamber music with piano. Haydn's piano trios are essentially piano sonatas with the violin and cello playing mostly supporting roles, doubling

16380-652: Was an Italian composer , pianist , conductor, editor, writer, and teacher. His international career and reputation led him to work closely with many of the leading musicians, artists and literary figures of his time, and he was a sought-after keyboard instructor and a teacher of composition. From an early age, Busoni was an outstanding, if sometimes controversial, pianist. He studied at the Vienna Conservatory and then with Wilhelm Mayer and Carl Reinecke . After brief periods teaching in Helsinki , Boston , and Moscow , he devoted himself to composing, teaching, and touring as

16520-401: Was commissioned to write several of these. Joseph Haydn is generally credited with creating the modern form of chamber music as we know it, although scholars today such as Roger Hickman argue "the idea that Haydn invented the string quartet and single-handedly advanced the genre is based on only a vague notion of the true history of the eighteenth-century genre." A typical string quartet of

16660-638: Was elected in 1881 to the Accademia Filharmonica of Bologna , the youngest person to receive this honour since Mozart. In the mid 1880s, Busoni was based in Vienna, where he met with Karl Goldmark and helped to prepare the vocal score for the latter's 1886 opera Merlin . He also met Johannes Brahms , to whom he dedicated two sets of piano Études , and who recommended he undertake study in Leipzig with Carl Reinecke . During this period, Busoni supported himself by giving recitals, and also by

16800-540: Was eventually to form a volume of the Bach-Busoni Edition , an undertaking which was to extend over thirty years. Seven volumes were edited by Busoni himself; these included the 1890 edition of the Two- and Three-Part Inventions . Busoni also began to publish his concert piano transcriptions of Bach's music, which he often included in his own recitals. These included some of Bach's chorale preludes for organ,

16940-597: Was held at the Beethovensaal (Beethoven Hall), included German premieres of music by Edward Elgar , Sibelius, César Franck , Claude Debussy , Vincent d'Indy , Carl Nielsen and Béla Bartók . The concerts also included premieres of some of Busoni's own works of the period, among them, in 1904, the Piano Concerto, in which he was the soloist under conductor Karl Muck ; in 1905, his Turandot Suite , and, in 1907, his Comedy Overture . Music of older masters

17080-472: Was included, but sometimes with an unexpected twist. For example, Beethoven's Third Piano Concerto with the eccentric first movement cadenza by Charles-Valentin Alkan (which includes references to Beethoven's Fifth Symphony ). The concerts aroused much publicity but generated aggressive comments from critics. Couling suggests the programming of the concerts was "generally regarded as a provocation". During

17220-576: Was introduced to the composer, who admired his skill. In the following year, Busoni composed a four-movement concerto for piano and string quartet . 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. 55 in the composer's initial numbering sequence, ( BV 119 , now lost) in 1879. Other early pieces were published at this time, including settings of Ave Maria (Opp. 1 and 2; BV 67 ) and some piano pieces. He

17360-659: Was not only the beginning of [his] transcriptions, but ... the beginning of that style of pianoforte touch and technique which was entirely [Busoni's] creation." Returning to Helsingfors, in March of the same year Busoni met his future wife, Gerda Sjöstrand, the daughter of the Swedish sculptor Carl Eneas Sjöstrand , and proposed to her within a week. He composed Kultaselle ("To the Beloved") for cello and piano for her ( BV 237 ; published in 1891 without an opus number). In 1890, Busoni published his first edition of Bach works:

17500-707: Was of course unequal but, on the whole, interesting". In Paris, the critic Arthur Dandelot commented "this artist has certainly great qualities of technique and charm", but strongly objected to his addition of chromatic passages to parts of Liszt's St. François de Paule marchant sur les flots . Busoni's international reputation rose swiftly, and he frequently performed in Berlin and other European capitals and regional centres (including Manchester, Birmingham, Marseilles, Florence, and many German and Austrian cities) throughout this period, as well as returning to America for four visits between 1904 and 1915. This journeying life led van Dieren to call him "a musical Ishmael " (after

17640-672: Was offered the directorship of the Liceo Rossini in Bologna. He had recently moved to an apartment in Viktoria-Luise-Platz in Schöneberg , Berlin, but took up the offer, intending to spend his summers in Berlin. The posting proved unsuccessful. Bologna was a cultural backwater, despite occasional visits from celebrities such as Isadora Duncan . Busoni's piano pupils were untalented, and he had constant arguments with

17780-431: Was often performed by upper- and middle-class men with less advanced musical skills in an unexpected setting such as informal ensembles in private residence with few audience members. In Britain, the most common form of chamber music compositions are the string quartets , sentimental songs and piano chamber works like the piano trio , in a way depicts the standard conception of the conventional "Victorian music making". In

17920-568: Was played primarily by amateur musicians in their homes, and even today, when chamber music performance has migrated from the home to the concert hall, many musicians, amateur and professional, still play chamber music for their own pleasure. Playing chamber music requires special skills, both musical and social, that differ from the skills required for playing solo or symphonic works. Johann Wolfgang von Goethe described chamber music (specifically, string quartet music) as "four rational people conversing". This conversational paradigm – which refers to

18060-511: Was published posthumously in 1925. Apart from his work on the music of Bach, Busoni edited and transcribed works by other composers. He edited three volumes of the 34-volume Franz Liszt Foundation's edition of Liszt's works, including most of the études, and the Grandes études de Paganini . Other Liszt transcriptions include his piano arrangement of Liszt's organ Fantasy and Fugue on the chorale "Ad nos, ad salutarem undam" (BV B 59) (based on

18200-519: Was reported to be $ 35,000, $ 176,000 in 2023 adjusted for inflation. While the concert piano market is dominated by Steinway & Sons , which signs prominent artists to a performance agreement and urges them to refrain from playing any other piano brand, performers preferring the Bösendorfer Imperial will often have that piano shipped with them while on tour. Ferruccio Busoni Ferruccio Busoni (1 April 1866 – 27 July 1924)

18340-483: Was surprised to hear Busoni playing, with two hands in double octaves , passages in a Mozart concerto written as single notes. At this, Donald Tovey proclaimed Busoni "to be an absolute purist in not confining himself strictly to Mozart's written text", that is, that Mozart himself could have taken similar liberties. The musicologist Percy Scholes wrote that "Busoni, from his perfect command over every means of expression and his complete consideration of every phrase in

18480-469: Was swiftly growing in population and influence during this period and determined to stake itself as the musical capital of the united Germany, but as Busoni's friend the English composer Bernard van Dieren pointed out, "international virtuosi who for practical reasons chose Berlin as their abode were not so much concerned with questions of prestige", and for Busoni the city's development as "the centre of

18620-547: Was the Turandot Suite . Busoni employed motifs from Chinese and other oriental music in the suite, though, as Leichtentritt points out, the Suite is "in fact the product of an Occidental mind, for whom the exact imitation of the real Chinese model would always be unnatural and unattainable ... the appearance is more artistic than the real thing would be." The suite was first performed as a purely musical item in 1905; it

18760-453: Was the ideal medium to express this conflict, "to reconcile his essentially lyric themes with his feeling for dramatic utterance within a form that provided the possibility of extreme color contrasts." The String Quintet in C, D.956 , is an example of how this conflict is expressed in music. After a slow introduction, the first theme of the first movement, fiery and dramatic, leads to a bridge of rising tension, peaking suddenly and breaking into

18900-417: 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 . Busoni immediately began to draft an adulatory letter to Verdi (which he never summoned the courage to send), in which he addressed him as "Italy's leading composer" and "one of

19040-540: Was used in a production of the play in 1911, and was eventually transformed into a two-act opera in 1917. 1894 saw the publication in Berlin of the first part of Busoni's edition of the music of Johann Sebastian Bach for the piano; the first book of The Well-Tempered Clavier . This was equipped with substantial appendices, including one " On the Transcription of Bach's Organ Works for the Pianoforte ". This

19180-435: Was very glad to take the opportunity. In 1920, Busoni returned to the Berlin apartment at Viktoria-Luise-Platz 11 that he had left in 1915. 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 1918. In 1921 he wrote "Like a subterranean river, heard but not seen, the music for Faust roars and flows continually in

19320-633: Was warmly received. 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

19460-406: Was written between 1901 and 1904. In 1904 and 1905, the composer wrote his Turandot Suite as incidental music for Carlo Gozzi 's play of the same name . A major project undertaken at this time was the opera Die Brautwahl , based on a tale by E. T. A. Hoffmann , first performed (to a lukewarm reception) in Berlin in 1912. Busoni also began to produce solo piano works that clearly revealed

19600-451: Was written by Beethoven himself – and was so popular that Beethoven feared it would eclipse his other works. So much so that by 1815, Carl Czerny wrote that Beethoven "could not endure his septet and grew angry because of the universal applause which it has received." The septet is written as a classical divertimento in six movements, including two minuets, and a set of variations. It is full of catchy tunes, with solos for everyone, including

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