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/ %7 r7 '1THREE PERSPECTIVES OF THE ART OF FERRUCCIO BUSONI
AS EXEMPLIFIED BY THE TOCCATA, CARMEN FANTASY,
AND TRANSCRIPTION OF LISZT'S MEPHISTO WALTZ:
A LECTURE RECITAL;
TOGETHER WITH THREE OTHER RECITALS
DISSERTATION
Presented to the Graduate Council of the
North Texas State University in Partial
Fulfillment of the Requirements
For the Degree of
DOCTOR OF MUSICAL ARTS
By
Roeboyd Hugh Middleton, Jr., B. M., M. M.
Denton, Texas
August, 1981
Middleton, Roeboyd Hugh, Jr., Three Perspectives of the
Art of Ferruccio Busoni, as Exemplified by the Toccata,
Carmen Fantasy, and Transcription of Liszt's Mephisto Waltz,
A Lecture Recital, Together with Three Other Recitals. Doctor
of Musical Arts (Piano Performance), August, 1981, 45 pages,
28 examples, bibliography, 53 titles.
The lecture recital, given April 13, 1981, began with
biographical background for Busoni's compositional development
leading to his mature style, as found in the Toccata, the
Carmen Fantasy, and the Mephisto Waltz. The three works--an
original composition, an operatic paraphrase, and a transcription
from an orchestral score--were then detailed with emphasis placed
primarily on Busoni's pianistic treatment of texture. Discussion
also included Busoni's aesthetic ideals in relation to the three
works. All pieces were performed from memory.
In addition to the lecture recital, three public solo
recitals were performed.
The first solo recital, performed on October 24, 1977,
consisted of works by Bach and Beethoven.
The second solo recital, performed on February 26, 1979,
consisted of works by Casella, Bach-Busoni, and Liszt.
The third solo recital, performed on July 1, 1980, con
sisted of works by Brahms.
All four programs were recorded on magnetic tape and are
filed, along with the written version of the lecture recital,
as part of the dissertation.
i
Tape recordings of all performances submitted as
dissertation requirements are on deposit in the North Texas
State University Library.
ii
1981
ROEBOYD HUGH MIDDLETON, JR.
All Rights Reserved
TABLE OF CONTENTS
PERFORMANCE PROGRAMS Page
First Solo Recital. ................... . .......
Second Solo Recital...............................
Third Solo Recital. ..................... . ......
Lecture Recital. Three Perspectives of the Art of Ferruccio Busoni, as Exemplified by the Toccata, Carmen Fantasy, and Transcription of Liszt's Mephisto Waltz.... .......
LIST OF ILLUSTRATIONS. .0................ . .......
THREE PERSPECTIVES OF THE ART OF FERRUCCIO BUSONI AS EXEMPLIFIED BY THE TOCCATA, CARMEN FANTASY,
AND TRANSCRIPTION OF LISZT'S MEPHISTO WALTZ. ........
BIBLIOGRAPHY............................... . ........
iii
LIST OF ILLUSTRATIONS
Figure Page
1. Toccata, measures 1-6, opening ostinato pattern. . . 15
2. Toccata, measures 12-14, Neapolitan relationship in measure 14. . . . . . . . . . . . . . . . . . . . 16
3. Toccata, measures 47-49, alternation of major and minor. . . . . . . . . . . . . . . . . . . . . . 16
4. Toccata, measures 50-52, tertian relationships at beginning of Fantasia. . . . . . . . . . . . . . 17
5. Toccata, measures 66-68, un poco animando con calore . . . . . . . . . . . . . . . . . . . . . 18
6. Toccata, measures 159-162, synthetic scale in
top voice beginning measure 160. . . . . . . . . . . 19
7. Toccata, measures 163-169, Ciaccona subject. . . . . 19
8. Toccata, measures 208-213, imitative patterns. . . . 20
9. Toccata, measures 264-266, Un poco stretto. . . . . 21
10. Toccata, measures 300-307, final tritone cadence. 21
11. Carmen Fantasy, measures 1-8, opening theme of Act IV. . . . . . . . . . . . . . . . . . . . . . . 23
12. Carmen Fantasy, measures 19-22, use of imitation. . 24
13. Carmen Fantasy, measures 80-86, entrance of "Flower Song". ............................ 25
14. Carmen Fantasy, measures 102-106, "fate" motive with "Flower Song"... ................ ........ 25
15. Carmen Fantasy, measures 110-114, entrance of
Habanera theme. .. o . . . . . . . . . . . . . . . o. 26
16. Carmen Fantasy, measures 133-140, Habanera variation . . . . . . . . . . . . .. . . . . . . . . 26
iv
17. Carmen Fantasy, measures 187-191, opening theme to opera.................... . ......... 27
18. Carmen Fantasy, measures 257-258, Death Scene ("fate" motive). ...................... 28
19. Mephisto Waltz, measures 25-33, note-againstoctave technique....... ................... 31
20. Mephisto Waltz, measures 114-122, first theme. . . . 31
21. Mephisto Waltz, measures 140-145, martellato technique. ....................... . ......*..*. 32
22. Mephisto Waltz, measures 166-171, trills in thirds............................. . ......... 32
23. Mephisto Waltz, measures 341-348, "love" theme. . . 33
24. Mephisto Waltz, measures 463-468, Vivace fantastico double trills............... . ......... 34
25. Mephisto Waltz, measures 598-609, "voluptuous" colorism.. ...... . .... . . . .. .35
26. Mephisto Waltz, measures 655-659, coloristic bass arpeggios................................ 36
27. Mephisto Waltz, measures 782-737, dry, Wild
passage in eighths. ................ . ........... 37
28. Mephisto Waltz, measures 840-851, furioso, martellato passage. ................ . . ........ 38
V
North Texas State University School of Music
presents
Hugh Middleton
in a
Graduate Piano Recital
Monday, October 3,1977 8:15 p.m. Recital Hall
Prelude and Fugue in C Major, WTC Book I ........... Bach
Thirty-three Variations on a Waltz by Diabelli,
Op. 120 .......................................... Beethoven
preseiited i, partial fIAdfihtlieit of the reqmirexexlts for the degree Doctor of AIsical Arts
vi
North Texas State University School of Music
presents
Hugh Middleton
in a
Graduate Piano Recital
Monday, February 26, 1979 6:30 p.m. Concert Hall
Two Ricercars on the name "B-A-C-H" ........................... Casella funebre - ostinato
Organ Prelude and Fugue in EL) Major ....................... Bach-Busoni
Sonata in B m inor .......................................................... Liszt
Presented in partial fulfillment of the requirements for the degree Doctor of Musical Arts
vii
NORTH TEXAS STATE UNIVERSITY
SCHOOL OF MUSIC
presents
HUGH MIDDLETON in a
Graduate Piano Recital
Monday, June 9,1980 8:15 p.m. Concert Hall
Piano Pieces, O pus 119 ............................................... Brahm s Intermezzo - b minor Intermezzo - e minor Intermezzo - C Major Rhapsody -ELMajor
Concerto in B Major, Opus 83 .................................... Brahms Allegro non troppo Allegro appassionato Andante Allegretto grazioso
Reduction of orchestra part played by Mr. Stefan Bardas
Presented in partial fulfillment of the requirements for the degree Doctor of Musical Arts
viii
NORTH TEXAS STATE UNIVERSITY SCHOOL OF MUSIC
presents
HUGH MIDDLETON in a
GRADUATE LECTURE RECITAL
Monday, April 13, 1981 6:30 p.m. Concert Hall
Three Perspectives of the Art of Ferruccio Busoni
PROGRAM
Busoni
Toccata Preludio-F antasia-Ciaccona
Chamber-Fantasy on Bizet's Carmen
Liszt-Busoni
Mephisto Waltz as transcribed for piano from the orchestra score
7iTK7T77~ <.JJ~LI~FV~
Presented in partial fulfillment of the requirements for the degree Doctor of Musical Arts
ix
THREE PERSPECTIVES OF THE ART OF FERRUCCIO BUSONI
AS EXEMPLIFIED BY THE TOCCATA, CARMEN FANTASY,
AND TRANSCRIPTION OF LISZT'S MEPHISTO WALTZ
The Toccata, Carmen Fantasy, and transcription from the
orchestral version of the Liszt Mephisto Waltz afford an unusual
opportunity of focusing upon the mature, pianistic compositional
style of one of the truly enigmatic figures of the late nine
teenth and early twentieth century: Ferruccio Busoni. As
pianist, composer, conductor, teacher, and aesthetician, he
achieved a remarkable degree of versatility in his unceasing
quest for quintessential truth in art. While his fame as a
pianist is legendary, there has been much confusion and mis
understanding concerning his musical compositions. This was,
to no small degree, partly a result of infrequent performances
of these works, along with their general lack of availability.
Of more importance, many of his works, in particular the late
ones, show compositional techniques that represent a new musical
aesthetic belief which radically differed from the prevailing
climate of late Romanticism. There has been, however, an in
creasing interest in recent times in fathoming the complexities
created by this eclectic composer--a cosmopolitan artist from
many points of view--which has resulted in the according of
1
2
a greater recognition to his contributions to musical under
standing. 1
Before considering the Toccata, Carmen Fantasy, and the
Mephisto Waltz, it would serve a useful purpose to explore how
cosmopolitan factors influenced his compositions from the be
ginning and, thus, show certain tendencies that had an important
bearing on these late works. As Edward J. Dent, longtime colleague
and first biographer of Busoni in English, expressed,
. . . We cannot hope to attain understanding of his vision until we have pursued it along his own track, sharing the successive experiences that each of his earlier works recorded.2
Ferruccio Dante Michelangiolo Benvenuto Busoni was born
on Easter Sunday, April 1, 1866 (even his birthdate on Easter
and April Fool's Day is a paradox in itself) in Empoli, Tuscany,
of an Italian father, who was a virtuoso clarinetist, and a
mother, a pianist of German descent. His early years were spent
in Trieste, where his family resided from 1871 to 1878. It was
Trieste, a city in which three cultures converge, that exerted
the earliest cosmopolitan influence on Busoni.
Ferruccio made his first public appearance at the age of
seven in Trieste and a year later played the "c minor concerto
by Mozart very precisely and with details."3 It was from this
1The Piano Quarterly, XXVIII (Winter, 1979-80), has devoted an entire issue to various aspects of Busoni.
2 Edward J. Dent, Ferruccio Busoni (London, 1974, although originally published in 1933), p. 307.
3Ferruccio Busoni, The Essence of Music and Other Papers,
translated by Rosamund Ley (London, 1957), p. 54.
3
time on that his parents began to concentrate on his musical
education. His father, Ferdinando Busoni, introduced to his
son the music of Bach. Many years later (1923) Busoni wrote,
I have to thank my father for the good fortune that he kept me strictly to the study of Bach in my childhood, and that in a time and in a country in which the master was rated little higher than a Carl Czerny. My father was a simple virtuoso on the clarinet, who liked to play fantasias on Il Trovatore and the Carnival of Venice; he was a man of incomplete education, an Italian and a cultivator of the bel canto. How did such a man in his ambition for his son's career come to hit upon the one very thing that was right? I can only compare it to a mysterious revelation. He educated me in this way to be a "German" musician and showed me the path which I never quite deserted, though at the same time I never cast off the Latin qualities given to me by nature.4
Busoni gave his first performance outside Italy at the
age of nine in Vienna, where he was well-received by Hanslick,
the critic, who noted "a remarkable seriousness" in his playing.5
This marked the beginning of a concert career as a pianist, for
which he, as had Franz Liszt, first received wide acclaim. It
was also a career from which he never was able to break entirely
away.
However, it was at this time that Busoni became interested
in composition, so much so that by the age of twelve he had
written some one hundred and thirty compositions.6 His family
lived for a time in Graz where he was taught from 1880-1881 by
4 Dent, op. cit., pp. 17-18.
5 H. H. Stuckenschmidt, Ferruccio Busoni: Chronicle of a
European, translated by Sandra Morris (London, 1970), p. 17.
6 Franco Agostini, "Introduction," The Piano Quarterly,
XXVIII (Winter, 1979-80), p. 17.
4
Wilhelm Mayer, a prominent composer of the time who used the
pseudonym "A. M. Remy," an anti-Wagnerite, whose style was in
fluenced by Schumann, his counterpoint by Cherubini, and his
orchestration by Berlioz. It was through Mayer that Busoni came
to realize the value of Mozart.7
It was, also, during these formative years that Busoni
developed an interest in, and ultimately a command of, languages
other than his native Italian, an ability which greatly aided
in the development of his broadly- based aesthetic philosophy.
In fact, during the summer of 1879 while the family resided
in the picturesque town of Cilli, Busoni, armed with two dozen
volumes of German literature, became stimulated enough to begin
writing a German novel himself.8
Another illuminating event of this period centered around
his becoming a member of the Academia Filarmonica in Bologna
at the age of sixteen--the youngest since Mozart--following a
successful concert tour of Italy. A year later, Busoni, writing
under the pseudonym "Bruno Fioresucci" from Vienna (the anagram
of his actual name should be noted), sent no fewerthan thirteen
articles to the newspaper L'Indipendente of Trieste, in which
he described various musical events, developed arguments of
aesthetic criticism, and provided sketches of important musical
figures of the time.9
7Stuckenschmidt, op. cit., p. 22.
8Dent, op. cit., p. 35.
9 Agostini, op. cit., p. 17.
5
In 1885 he was able to study in Leipzig where he was intro
duced to Carl Reinecke by Brahms, who had known Busoni in Vienna.
Here Busoni (originally) dedicated to Reinecke his Variations in
a Free Form on the Prelude in C Minor by Chopin, Op. 22. This
work, one of the more interesting from his juvenile period, shows
the influence of Brahms (including a final fugue that was omitted
in a later revision).10 While in Leipzig he met Delius, Mahler,
Tchaikowsky, Grieg, Sinding, and also Henri Petri, the violinist,
whose son Egon became his most famous pupil. Busoni's Leipzig
associations mark the beginning of an ever-widening circle of
acquaintances, colleagues, and friends that added immeasurably
to his broadening horizons.
By 1889, now more widely regarded as an eminent pianist,
Busoni embarked on a series of professorships at the conserva
tories in Helsinki--where he met Sibelius and his future wife
Gerda Sjostrand--Moscow, and Boston. In 1894, he moved to
Berlin, which remained his true home for the remainder of his
life except for a time during World War I in Switzerland. He
held master classes in Weimar in 1901-02 while promoting the
music of Liszt. In 1902, he conducted orchestral concerts of
modern works (which he avoided in his solo recitals) in Berlin,
including world premieres of works by Bartok, Delius, Sibelius,
and Busoni himself and, also, German premieres of pieces by
/ 11 Debussy, Faure, Franck, and d'Indy. The impact of these
10 Ibid.
Helmut Wirth, "Ferruccio Busoni," The New Grove's Dictionary of Music and Musicians, edited by Stanley Sadie, sixth edition, III, 20 vols. (London, 1980), 509.
6
events earned Busoni not only the international esteem of his
colleagues, but provided learning experiences which inestimably
contributed to the refining and, ultimately, the synthesis of
his musical insights. For example, Dent suggests that the
solitude of a rather backward Helsinki had deeply affected his
playing, which now seemed to reproduce the sound of a "full
soft organ tone on the pianoforte." 12 It was then that Kathi
Petri, wife of the violinist, first suggested that he transcribe
Bach's organ music, after hearing Busoni play the Organ Prelude
and Fugue in D Major in the Thomaskirche.3 Thus, not only began
his series of transcriptions, but the beginning of a new pianistic
touch, created by Busoni.
The results of these experiences also may be observed in
Busoni 's compositional development as it progressed toward his
late works. While very encouraged by the overall quality and
quantity of the early works, Busoni himself, later in life,
frequently expressed dissatisfaction with his juvenile efforts.
With regard to the early transcriptions, he felt that trans
cribing those works provided a stimulus--a new basis for study
ing a work through its transcription.14 Nonetheless, there are
certain signs which may be viewed in various selected works pre
ceding the trio of compositions under discussion here which seem
to point directly to his mature style.
12 Dent, op. cit., p. 82.
13 Ibid.
14 Ferruccio Busoni, Scritti e pensieri sulla musica,
translated by L. Dallapiccola and G. M. Gatti, second edition (Milan, 1954), p. 27.
7
From Busoni's compositional beginning he showed an interest
in Baroque stylized dances and in contrapuntal procedures, as
may be seen in his Five Pieces for Piano, Op. 3 (Preludio, Men
uetto, Gavotte, Etude, Gigue), his first works for piano (1877).
During the years 1886-91 the first transcriptions of Bach organ
compositions, the preludes and fugues in D and E, represent a
new dimension in this genre. While transcription was an ancient
practice, the procedure had undergone enormous changes and to
the nineteenth century ear was best manifested through the
brilliant pianistic efforts of Liszt. Busoni generally followed
the practice of Liszt in that only transcriptions which success
fully translated the original into a pianistic idiom were con
sidered as artistic. 15 However, there are differences between
Liszt and Busoni in their approach as will be discussed later.
The two short Dance Pieces, Op. 30a (originally 1891,
revised 1914), and the Six Pianoforte Pieces, Op. 33b (1896),
both show Busoni's awareness of his Italian heritage. The brisk,
clean, "sharply pointed" music of Op. 33a along with the Op. 33b,
No. 4, Fantasia in modo antica, are remindful of the contrapuntal
style of Frescobaldi, a definite influence on the later Toccata.1 6
It was not until the Second Sonata in E Minor, Op. 36a, for
piano and violin (completed in 1898), that Busoni considered he
15 Hugo Leichtentritt, "Ferruccio Busoni as a Composer,"
The Musical Quarterly, III (1917), p. 88.
16 Ibid., pp. 73-74.
8
had found his true style of musical expression. Here one
finds the lofty and sublime spirit of late Beethoven and of
Bach's organ works. The last movement contains a set of varia
tions based upon Bach's chorale, Wie wohl ist mir, o Freund
der Seelen.
The Piano Concerto, Op. 39, of 1904, and the Fantasia
Contrappuntistica, which first appeared in 1910, both represent
summits in Busoni's compositional style. The former, while
massive in terms of proportions, achieves a remarkable sense
of balance between piano and orchestra, along with a coloristic
pianistic character typical of his late pianistic style. The
latter piece, the Fantasia, in which Busoni "completes" the
fifteenth fugue of Bach's Art of the Fugue, represents a syn
thesis of conception of the contrapuntal style.
The five sonatinas preceding the Carmen Fantasy, which
in reality is Sonatina No. 6, must be mentioned with regard
to aspects all six hold in common. Composed between 1910
1921, they represent Busoni's last period of maturity. In
spite of differing technical procedures and points of view,
they are all "predominantly quiet, contemplative and end
softly and/or simply."18 They also do not have the usual
key signatures establishing a definite key, nor is there a
17 Ferruccio Busoni, Letters to his Wife, translated by
Rosamund Ley (London, 1938), p. 91.
1 8 Larry Sitsky, "Busoni: A Short Survey of the Piano
Music," The Piano Quarterly, XXVIII (Winter, 1979-80), p. 24.
9
specific key included in the title of each sonatina, probably
due to the extensive modulations that occur within each.1 9
He took a unique formal approach to his sonatinas,
with five of the six being one-movement works--reflective of
the influence of Liszt. Yet they show a variety of composi
tional techniques, such as: (1) cyclical treatment of themes
(Sonatinas I, II, and IV); (2) fugal development of themes
(Sonatina V; also, parts of I through IV); (3) variation
treatment (Sonatina I); (4) presentation of several movements
(Sonatina III); and (5) operatic paraphrase (Sonatina VI) .20
The Sonatina Brevis, No. 5, which is based upon Bach's little
Fantasy and Fugue in D Minor, shows the most direct relation
to the Carmen Fantasy, derived from the Bizet opera. Both
illustrate the composer's ability to superimpose his own per
sonality upon another's idea.21 The overall effect of the
sonatinas, however, is that their diversity of procedure re
presents a remarkable expansion of the miniaturistic eighteenth
century approach.
The achievements of Busoni's late piano works could not
have come about without the interaction and influence of his
extraordinary pianistic and interpretative skills. Called
19 Phyllis Hays Vogel, "The Harmonic Language Used by Ferruccio Busoni in his Piano Music from 1900-1924," unpub
lished doctoral dissertation (Baltimore, 1973), p. 192.
20 Ibid., pp. 219-220.
21 Sitsky, op. cit., p. 24.
10
"the first great modern pianist,"22 he initiated and developed
many principles which have influenced the more intellectual
elements of piano playing in the twentieth century as revealed
in such pianists as Artur Schnabel and Edwin Fischer. Essen
tially an eclectic style, Busoni's playing could be considered
as successor to Liszt but its roots seem to lie more in sympathy
with Anton Rubinstein.23
Hugo Leichtentritt refers to the "transcendental, sublime
beauty of sound, the mystic profundity . . . a sovereign vir
tuosity and boldness beyond comparison."24 He goes on to say:
The unique marvel of Busoni's playing is dominated by two seemingly irreconcilable basic traits. One of these sources is the feeling for the monumental power of Gothic structure, for the subtle structure of linear rhythm . . . The second source . . . flows from the nervous sensitiveness of the modern impressionst painter for the most delicate nuances of colour .
the amazingly precise and sparkling sharp-edged rhythms, the bold lightning-like leaps, his peculiar staccato, sharp, brittle, pointed like glass, the blunt, dim mezzo staccato, the martellato in its force suggestive of a sledgehammer-all these technical perfections acted as a marvellous treat to the ears of a connoisseur.2 6
Another important facet of Busoni's playing involved the
pedal. One of his pupils, Edward Weiss, wrote:
22 Harold C. Schonberg, The Great Pianists (New York, 1963),
p. 355.
23 Dent, op. cit., pp. 102-103.
2 4 Hugo Leichtentritt, "Ferruccio Busoni," The Music Review,
VI (1945), p. 207.
25 Ibid., p. 209.
26 Ibid., p. 211.
11
His mastery of the pedal was entirely unique with him. He could get sonorities out of the piano that no other pianist I've ever heard could achieve. . . .
Another unusual feature of his playing was that Busoni was very careful to hold the last chords. At the ends of pieces he would always use pedal and hold keys down until often the sound had died away. He often worked the three pedals at one time (the left foot held two pedals at once, and the right the sustaining pedal). He utilized the sostenuto pedal extensively. He wrote studies for this pedal and many of his transcriptions require the use of it. Busoni often created effects by depressing the pedal to hold the dampers away from the strings of the keys he hg just depressed, making a new sound and new overtones.
Other writers noted meticulous examples of his finger tech
nique. Gisella Selden-Goth makes the point that Busoni realized
that "the slurred note, the legato, is not an organic part of
piano playing."2 8 His chiseling out of notes individually re
sulted in his "non-legato" style. He was also aided by an extra
ordinary reach, his hands, though not large,being highly flexible.
He could reach five-note chords within the span of a tenth, with
out resorting to the arpeggio which he considered taboo.29 One
of Busoni's later pupils, Heinrich Kosnick, referred to a Busoni
letter to his wife in 1906 in which he said: "I hardly play
with my hands any more."30 The point made here is illustrative
of Busoni's synthesis of spiritual-intellectual elements along
with the physical.
27 Busoni and His Pupils Play Busoni Compositions, notes by
Edward Weiss, International Piano Archives 104, 1976 (originally issued, 1922).
28 Stuckenschmidt, op. cit., p. 76.
2 9Ibid
30 Ibid.
12
In addition to several essays about piano technique, Busoni
himself left one principal document based upon his own approach,
the Klavierubung, composed between the years 1917-1922, which
represents the sum of his pianistic development.3 1
Many remarks made by Busoni concerning piano playing were
highly imaginative, reflecting a profound intellect:
And the pianoforte has one possession which is wholly peculiar to itself, an inimitable device, a picture of
the sky, a ray of moonlight--the pedal. The potential effects of the pedal are still unexhausted because we have remained the slave of a narrow-minded and senseless harmonic theory. . . . The pedal is in ill-repute. For this absurd irregularities must bear the blame. Let us
experiment with sensible irregularities. . . .32
The most succinct description of Busoni's playing may have
been stated by Dent: "Technique was for him merely the servant
of expression."33 Certainly that is the case in the Toccata, the
Carmen Fantasy, and the Mephisto Waltz. Here are three pieces-
an original work, an operatic paraphrase, and a transcription-
all of which represent Busoni'6 synthesis of compositional and
pianistic elements of style within each genre.
In the late works Busoni moved toward a direction of an
inward expressiveness.34 This seems especially true for the
sonatinas, and, thus, for the Carmen Fantasy. This approach,
3 1Now published as Ferruccio Busoni, The New Busoni,
compiled by Franzpeter Goebels, 2 vols. (Weisbaden, 1968).
3 2 Ferruccio Busoni, Sketch of a New Esthetic of Music,
translated by Theodore Baker (New York, 1911), p. 44.
3 3 Dent, op. cit., p. 259.
34 Agostini, op. cit., p. 20.
13
though, which resulted in a special kind of clarity of texture,
also applies to the Toccata and to the Mephisto Waltz. By the
very nature of the Toccata's being a completely original work,
the harmonic structure is somewhat more modern, but all three are
based upon late nineteenth- and early twentieth-century chromaticism
stemming from established harmonic techniques. Another related
and important connecting trait among the three works is the
coloristic treatment afforded the piano, which affects the
technical approach for the performer. It is primarily these
areas that will come under consideration.
The Toccata, one of the longest and most powerful pieces
of his final years, was completed in late 1920 or early 1921 and
was first published in 1921 as a supplement to a Viennese musical
journal.35 The work, completed after Busoni had returned to
Berlin from Switzerland, was dedicated to Isidor Philipp, pianist
and teacher living in Paris. The composition, which makes tre
It was first published as Notenbeilage zu Musikblbtter des Anbruchs, Sonderheft Ferruccio Busoni, January, 1921, Universal-Edition. This source is taken from Dent, op. cit., p. 343. However, Dent somewhat contradicts himself by listing the composition date as 1921 in his other catalogue of Busoni's musical output, found in his article on Busoni for Grove's Dictionary of Music and Musicians, edited by Eric Blom, fifth edition, I (New York, 1954). In his biography, op. cit., p. 252, he refers to Busoni already performing it in Berlin during the fall of 1920. Wirth, in his catalogue (Wirth, op. cit.), also concurs.
However, other sources are two Busoni letters to his wife from Berlin, one dated 16 September, 1920, the other dated 21 September, 1920, which state that he has finished the work. These may be observed in: Ferruccio Busoni, Letters to his Wife,
translated by Rosamund Ley (London, 1938), pp. 297-298. It should be kept in mind, however, that Busoni did frequently revise earlier works at a later date.
14
mendous technical demands on the performer, consists of three
linked sections: Preludio, Fantasia, and Ciaccona. Stucken
schmidt calls it:
. . . a return to the original concept, developed on the organ, a sort of technical exercise for the consummate
virtuoso, out of which a form gradually emerges, becoming more and more apparent until it eventually ends up as the Ciaccona, a real ostinato piece.3 6
That Busoni is mindful of his distant precursor Frescobaldi
is made apparent by the borrowing of a warning motto which heads
this taxing work: "Not without difficulty does one arrive at
the end." 3 7 Another relation to Frescobaldi is Busoni's change
of time signatures between sections and, usually, ending sections
with strong cadential points.
The piece, which is darkly colored and often gloomy, is
illustrative of the dry, and sometimes austere, side of Busoni-
one of the directions his clarity of expression took. The work
is centered harmonically around the tonality of A2 minor, which
is often obscured by sudden modulations to remote regions. The
Preludio begins in 6/4 time in A1 minor, immediately commencing
with an ostinato pattern--a device which grows in importance as
the piece develops--consisting of an arpeggiated figure of three
harmonies, A1 minor, D major, EB7 major, played in martellato
style. By the fifth measure they have become solid chords, as
is shown in Figure 1:
36 Stuckenschmidt, op. cit., p. 129.
3 7 This quotation, with slightly differing Italian, may be found in Girolamo Frescobaldi, Toccata Nona, Toccatas: Toccate e Partite, d'Intavolatura di Cimbalo, libro secundo, 1615,
transcription and registration by G. Sazerac deForge, II (Paris,
1955-59).
15
Preludio Quasi Presto, arditamente
A~
Piano Lf _ _ __ _
Sftcctis3imo
Fig. 1--Toccata, measures 1-6, opening ostinato pattern.3 8
In the same figure each new harmony begins at the interval of
the third from the previous harmony. This interval will act
somewhat as a germinating cell in the course of the work. After
a brief stint in C major, including change of key signature (mea
sures 12-29), some interesting Neapolitan relationships occur,
involving parallel chord movement (measure 14) in which the third
of the Neapolitan chord is missing (as seen in Figure 2). Also,
Busoni's tendency to "chromatically surround" a central tone is
evident in the left hand of measure 14.39
3 8 These and the following musical figures of the Toccata,
unless otherwise specified, are based upon: Ferruccio Busoni, Toccata: Preludio, Fantasia, Ciaccona (Wiesbaden, 1968).
3 9 Stuckenschmidt, op. cit., p. 102.
16
Fig. 2--Toccata, measures 12-14, Neapolitan relationship in measure 14.
Then the Al? minor harmony returns to complete the Preludio.
Noticeable at the final cadence of the Preludio is an alterna
tion of major and minor but which ends with the Picardy third
(see Figure 3).
AAA A
S *~ affacca
Fig. 3--Toccata, measures 47-49, alternation of major and minor.
17
Pianistically the technical difficulties of the Preludio
arise from the constant, motor eighth-note rhythm and rapid
leaps. The arpeggio patterns also call for rather prolonged,
extended hand positions. The constant staccatissimo coupled
with only minimal pedal makes for a very arid beginning.
The Fantasia begins portentously, as, again, the interval
of the third immediately shows its importance (see Figure 4).
Also, the time signature has changed to 12/8.
Fantasia Sostenuto, quasi adagio 7
~~V W
Fig. 4--Toccata, measures 50-52, tertian relationships at beginning of Fantasia.
The Fantasia tends to stress a rather declamatory, improvisatory
character and becomes sectional within itself. The deep, murmuring
tremolos add an interesting coloristic effect. At the un poco
animando con calore section (beginning at measure 66), one of the
most coloristic points in the piece, Busoni has settled comfortably
into E6 major, which seems to suggest a brief reminiscence of the
past and Busoni's reminder about the importance of melody. "It
[melody] must succeed in attaining universal command in composi
tion."40 (See Figure 5.)
40 Busoni, Essence, p. 31.
18
unpoco animando _-z calore
Fig. 5--Toccata, measures 66-68, un poco animando con calore.
After only five measures this placidity dissolves into a brief,
staccato Allegretto (at measure 71) in 2/4 time. The eighth-note
triplet rhythm featured here remains important through the next
Meno vivace section (measures 79-89) and also through the follow
ing lengthy, but very transparent, Andante tranquillo (measures
90-130) , where it develops into slow sixteenths at Piu~ tranquillo
(measure 132). The second half of the Andante tranquillo (at
dolce, measure 108, and again at a tempo, measure 123) shows
interest harmonically because of the A-major emphasis, but ca
dences finally in C minor (measure 132). The transparent, time
less quality continues (measures 132-151) with the gradual re
introduction of the earlier un poco animando theme. Then there
is an acceleration of tempo with another meter change to 3/4,
which will predominate in all but two measures for the remainder
of the piece (the reception being measures 266-267, which changes
to 4/4). Measures 160-162 show in the top voice an example of a
synthetic scale (G-A-B-C-D-E-F#). (See Figure 6.) This is also
a typical Busoni martellato passage divided between the two hands.
19
con inpeto
Fig. 6--Toccata, measures 159-162, synthetic scale in top voice beginning measure 160.
The Ciaccona section follows (with the Allegro risoluto, be
ginning at measure 163), in a sarabande rhythm. The subject, beginning
in the bass, rises the interval of a third, then falls (see Figure 7).
Ciaccona 5
Allegro risoiuto 2
4V.
Fig. 7--Toccata, measures 163-169, Ciaccona subject.
This entire section, with its motor rhythms and basically non
legato manner, makes great technical demands upon the pianist,
calling for block chords stretching the distance of a tenth
(measures 186-190), rapid octaves, and martellato passages fea
turing the Dorian mode (measures 194-203). Following this is an
imitative section (measures 210-255) consisting of sequential
patterns derived from the Ciaccona subject (see Figure 8).
20
Fig. 8--Toccata, measures 208-213, imitative patterns.
This leads into a nearly improvisatory-like section of running,
light-textured sixteenths (measures 226-233). Then a motivic
treatment of the Ciaccona subject joins these in essentially
chromatic movement (measures 234-263), although the real Ciaccona
subject comes back briefly (measures 246-259).
The final portion of the Ciaccona is a rather percussive
double stretto with ostinato octaves derived from the subject
(beginning measure 264); the interval of the third still retains
its importance (see Figure 9).
21
A Un poco stretto .7 .7f o " 7N D -
'F_ t - - - I ___ _ 1 1 . II - I - i .
op I
Fig. 9--Toccata, measures 264-266, Un poco stretto.
This is followed by an even more percussive and rhythmic pedal
point on low A1 (measures 272-279). The final Piu stretto fea
tures rapid chromatic octaves (beginning at measure 280) and cross
rhythms coupled with motivic treatment of the Ciaccona subject
(measures 292-299). The low G called for (in measure 297),
which is a throwback to Busoni's unique sound-perception achieved
in the Bach organ transcriptions, cannot be played as such on most
pianos. The final, biting, tritone cadence is of special interest,
containing a D major-A minor progression (see Figure 10).
Piii sostenuto L~L- ~ L
Fig. 10--Toccata, measures 300-307, final tritone cadence.
MRL
fA
a
MR-d=Z3
4 4 -+ 4 :; -4 4 4 64:; 1*
Tempo I A A .4 # -.4
tl t I fats, 0
ti 11
jjw R w
22
The Chamber Fantasy on Bizet's Carmen, completed in March,
1920, points to Busoni's continued interest, even at this time
in his life, in the pianistic adaptation of another's original
composition. In this case, he chose the route of the operatic
paraphrase. He must have had Bizet's opera Carmen in mind for
quite some time, as it had made a powerful impression on him back
in 1884.41
Bernard van Dieren colorfully refers to Busoni's antagonistic
(to the critics) choice of source:
Another cause for displeasure was his advocacy of Bizet. When it moved him to the composition of a "Sonatina super Carmen" he perpetrated three branding sins simultaneously. He had resumed the despised Lisztian tradition of a Piano Fantasia on operatic fragments, he had chosen a composer whose name, in connexion with chamber music, jarred on Teutonically critical ears, and by his reference to sonata 42 form he intensified the general sinfulness of the proceedings.
Busoni's use of the word "chamber" in the title seems to
suggest the kind of intimacy and transparency of texture which
abound in this work. This was a new avenue for the operatic para
phrase away from the grandiose and brilliant works of Liszt. It
is by no means an operatic potpourri but a serious, enigmatic, at
times fleeting, work. Here Busoni gave his comments on the most
important episodes of the opera, in which fragments from different
parts of the opera are sometimes juxtaposed in rather unusual har
monic contexts. A free kind of polyphony floats periodically
through the piece as well.
41 Dent, op. cit., p. 115.
4 2 Bernard van Dieren, Down Among the Dead Men and Other
Essays (London, 1935), p. 53.
23
Formally, the Carmen Fantasy is a one-movement, multi
sectional work, which seems to have been modeled after Liszt
in this respect. There are five sections. The piece begins in
A major with the light and cheerful Spanish pre-bullfight music
which opens Act IV of the opera. The theme is freely interwoven
with the accompaniment throughout the first section (see Figure
ll).
Allegro deciso
Fig. 11--Carmen Fantasy, measures 1-8, opening theme of Act. IV.
This is followed by imitative treatment of the theme, as may be
seen in Figure 12 (measures 19-22).
AN __AF__
lp -Alt Ali
,60 1 i TI ON
4F 4F. ts S, 0 0 0 0 0
dmi Awl
Sooo o ... 0o.:qe*@.*.oQo ........
I or
ion
At
0
Ar of -1 Ti
AL dk,
*t
,-)
24
. . . . . . . . . . 0 0 0 0 0 0 0 0 0 0 0 0 0 0 a 0 0 0 0 * 0 6 4
TA" w
0 6
ptu I egg iero
room", J-1 did lk
Ml
7fr
7or
Fig. 12--Carmen Fantasy, measures 19-22, use of imitation.
This eventually winds down and leads by clever modulation from
A major to the D? major second section, the lyrical "Flower
Song," sung by Don Jose in Act II of the opera. DP major also
happens to be the key of the original tenor aria. Busoni does
not try to reproduce the entire aria and also occasionally makes
subtle rhythmic departures from the original. The accompaniment,
which lies mostly over the melody, is chromatic at first (see
Figure 13) and then breaks into gently rippling, coloristic chords.
Andantino con amore dolcissimo
lbif F 4 I L =!mufti V,
cantando
AN MR 4
sotto voce
25
I I 4,4t .00, V
V I .V -
Fig. 13--Carmen Fantasy, measures 80-86, entrance of "Flower Song ."
Near the end of this section (measures 102-106) the "fate" motive
of Act IV slips in subtly through chromatic sequences in combi
nation with the conclusion of the "Flower Song" (see Figure 14).
un poco stretto
pr
Ir
Fig. 14--Carmen Fantasy, measures 102-106, "fate" motive with "Flower Song."
Immediately following in section three is one of the unique,
coloristic features of late Busoni. Here is the entrance of
the Habanera but not in the overt manner of the opera. This is
stated as if the dance is heard in a vision or in the far distance.
I
f% V I V I V 1
26
Busoni, who uses colorful and descriptive terms to describe the
atmosphere of a given passage, here uses the word vagamente.
He also indicates the use of two pedals in this section: the
damper and the soft pedal (see Figure 15).
Allegretto tranquillo (quasi lo stesso P-mp
dolce, vagamente -A ij jMo
con i due Pedali
Fig. 15--Carmen Fantasy, measures Habanera theme.
110-114, entrance of
This presentation of the Habanera is followed by total change
of expression to capriciousness, also by change from DI major
to D minor (also the original Habanera key), and a delicate but
scintillating variation on the same theme (see Figure 16). delicatam.
dolce Tempo della Habanera
Apoc a% a Ici
Fig. 16--Carmen Fantasy, measures 133-140, Habanera variation.
r
27
Tempestuous octaves and scales follow in a transition section
leading to A major (the original beginning key of the opera).
Busoni's directions call for the trumpet sound (quasi Tromba),
as seen in Figure 17.
Allegro ritenuto quasi Tromba
M t
Fig. 17--Carmen Fantasy, measures 187-191, opening theme to opera.
A piccantmente section follows (again, calling for the use of
two pedals) based on the second key area of the overture (F#
minor) and of the children's chorus in Act IV.
Then follow two truly unique moments, but typical of late
Busoni: two transitional sections, within which is framed one more
statement of the pre-bullfight music of Act IV. The first transi
tion is a chromatic whirlwind, played sotto voce, and containing
rhythmic motives from Act IV (and the overture); the second is a
murmuring (mormorando) arpeggio chain leading to the final section,
the Death Scene of Act IV. Here Busoni treated this scene as if
seen in a mystic vision (Andante visionario). He juxtaposed the
rhythmic motives of the Habanera and the bell-like tolling of the
timpani to accompany the "fate" motive (see Figure 18). This
28
section which begins in F# minor finally subsides, after several
modulations, to A minor. Interestingly, Busoni chose to end
this paraphrase in minor when the original opera had concluded
in major.
Andante visionario
Fig. 18--Carmen Fantasy, measures 257-258, Death Scene ("fate" motive)
In the Carmen Fantasy Busoni has demonstrated a unique flexibility
with regard to formal structure.
The Mephisto Waltz, which was transcribed from the orches
tral score of Liszt, represents the mature transcription years
of Busoni. It points to Busoni's now solidified position as
Liszt's pianistic successor as well as his high admiration for
Liszt's musical compositions. This becomes all the more in
triguing because Busoni not only had never studied with Liszt,
he had only heard him once as a boy of eleven and with expressed
disappointment.43 That his view of Liszt's music had changed
4 3 Dent, op. cit., p. 24.
'
29
considerably soon thereafter is revealed in a letter Busoni wrote
in 1907:
. . . As you know, the first in the formation of my musical
taste was to get Schumann and Mendelssohn out of my system; Liszt I misunderstood, then worshipped, and eventually admired more calmly.4 4
Then came forth the following aphorisms:
Bach is the foundation of piano playing, Liszt the summit. . . . Truly Bach is the Alpha of pianoforte composition and Liszt the Omega.4 5
The work was finished during a concert tour of the United
States in March, 1904.46 Busoni took his transcription from the
Liszt Mephisto Waltz No. 1, the second of Two Episodes from Lenau's
Faust, known as The Dance in the Village Inn, and composed during
the years 1859-60. Liszt wrote his orchestral and piano versions
at approximately the same time. It is unknown which came first.4
Liszt did compose several later versions for piano and also trans
cribed this particular piece later for piano duet.
Lenau's poem describes how Faust and Mephistopheles, in
search of pleasure, stray into a village inn where wedding fes
tivities are in full swing. Suddenly Mephistopheles seizes a
violin and intoxicates the audience with his playing. They
abandon themselves to love-making and, two by two, slip out into
44 Stuckenschmidt, op. cit., p. 95.
4 5 Busoni, Essence, pp. 81, 145.
4 6 Busoni, Letters, pp. 72, 75.
4 7Alan Walker, editor, Franz Liszt: The Man and His Music
(London, 1970), p. 314.
30
the night, Faust with one of the maidens, where a nightingale's
song is heard and where the couple are "swallowed by the roaring
sea of lust." 4 8
It is interesting that there is an alternative ending for
the Liszt work (as there is for the Liszt Sonata in B Minor)-
the version usually done brings back the dance music and ends with
a quick but violent climax. This was the ending Liszt had chosen
for his piano version and Busoni likewise. The second ending con
tains a sudden fortissimo in the entire orchestra and then the
music dies away in quiet, shuddering tremolos.
In this composition Busoni, while remaining essentially
faithful to the orchestral text, did not attempt a mere note
for-note arrangement. He showed penetrating insight in his
decision to capture the "character of the sound," 4 9 which is of
a strong rhapsodic flavor. In doing this, he created a work
which is truly pianistic and technically demanding.
The work, which Busoni kept in its original key, A major,
begins with "the violin tuning up," by the piling up of fifths
(measures 1-113). Busoni kept the pianistic texture thin and
relatively dry from the beginning. Instead of thick doublings
of octaves in both hands, he often used a technique that could
be called "note-against-octave" or "note-against-chord" in which
the octave and single note alternate back and forth between the
hands, as shown in Figure 19.
4 8 Translation of the quotation in the Liszt orchestral score.
4 9 Hanspeter Krellmann, Studien zu den Bearbeitungen
Ferruccio Busonis (Regensburg, 1966), p. 154.
31
n - -W- 1 ig -.
Fig. 19--Mephisto Waltz, measures 25-33, note-againstoctave technique.
The "tuning-up" introduction leads into the first theme (be
ginning in measure 114), which maintains the dryness of the
introduction (see Figure 20).
Rustico. (menQ mosso) 11>
IlL !K nL Am An T 9
wr Af I LTI M 'Llko
fin ADO=
.........
A
ig 1 F F 1 F F F i I L-- -I- ---A I-]-
(sopra)
Fig. 20--Mephisto Waltz, measures 114-122, first theme.
In the following Vivamente section (beginning at measure 140)
Busoni used his unique martellato technique of alternating the
two hands to realize the violin runs (see Figure 21).
I
V) Y
32
Vivamente.
irno6
Fig. 21--Mephisto Waltz, measures 140-145, martellato technique.
Later in the same section he called for quasi staccato, dry
runs (for example, measures 152-155) and trills in thirds (mea
sures 168-171). See Figure 22.
tan ten tn
Fig. 22--Mephisto Waltz, measures 166-171, trills in thirds.
To be noticed in that passage and also later in this section
are expansive left-hand chords of a tenth, which Busoni intended
to be played solidly, not arpeggiated. Near the end of the
"dance" section he adds two scale passages (measures 278-280)
not in the Liszt original which rush toward a climax, with the
two hands widely spaced. After a final martellato statement of
i if _
.46
16mmid VU
33
the dance theme (beginning at measure 297) the rhythmic flow
subsides and modulates to DI major, the key of the "love" theme.
This section features frequent use of three staves with
hand crossings (see Figure 23).
Un poco meno (ma poco.) (la misara elastfcamente)
* 0 * '3 Is, 191*
Fig. 23--Mephisto Waltz, measures 341-348, "love" theme.
Later, much pianistic colorism is featured and Busoni included
even the smallest of melodic motives in the orchestral version
(such as the clarinet countermelody in measures 399-401 and the
fluttering flute runs in measures 411-412ff). He even used ex
pressive terminology, either taken from the orchestral score or
original with Busoni, to achieve various orchestral/coloristic
effects in the piano (flatternd, measure 411).
In the following Vivace fantastico section (in BI? minor)
Busoni imitated the flutes with double trills in the piano (see
Figure 24).
34
Vivace fantastico ........................................................................................................ :
. 0 .
.77- rol. 1& 0 LA .mi tIJL am Ak a' M led
r =,ri m I -r I
Pano
06
Fig. 24--Mephisto Waltz, measures 463-468, Vivace fantastico double trills.
The double trills eventually become tremolos which are played
both with and without pedal, according to Busoni's directions.
An interesting detail is his use of the term con sordino--with
dampers (i.e., without pedal)--in the correct Italian sense.
The tremolos lead to what is unquestionably the high point of
the piece from a coloristic standpoint (beginning in measure
599). The "love" theme is now heard in both widely spaced
hands--in octaves in the right and in the left-hand thumb-
with continuing tremolos and accompanying bass chords. The
whole effect is made almost impressionistic--at least mystical-
by the subtle combination of both soft and damper pedals (see
Figure 25). He even adds the word "voluptuous" (voluttuoso) to
the entire proceedings.
35
SeAr ngi- (aber immer i Tempo) Tranquillis. (ma sempre a tempo)
e 2
-- t
2 Peda / (vehr tvech) dolczss.
ion_
.. .... .. ... ... ... ... ...
I I i IL lk IA M NEW
Fig. colorism.
25--Mephisto Waltz, measures 598-609, "voluptuous"
In addition the section contains descending chromatic scales in
thirds which were not included in the orchestral score. An
Agitato follows, this time with coloristic, low bass arpeggios
added (see Figure 26).
III L__ -iii I I
36
Afitato. V4hwil.)
IFI
(mtlto Pedale.
Fig. 26--Mephisto Waltz, measures 655-658, coloristic bass arpeggios.
The "dance" music returns very dryly (beginning at measure 682)
and then combines, very cleverly, with the "love" theme (be
ginning at measure 714) and tremolos. After an ascending mar
tellato octave passage (measures 778-781) comes the Wild section
(beginning at measure 782), in which Busoni changed to eighth
note octaves from the Liszt orchestral sixteenth-note patterns.
However, because of this the tempo in the Busoni can actually be
faster. Also, he indicated that the chords and octaves are to
be played brutally (brutalmente) and dryly (seccamente), all of
which produced a different effect from Liszt (see Figure 27).
I
37
Wild (brotlme,,fe)
(eecarnente)
Fig. 27--Mephisto Waltz, measures 782-787, dry, Wild passage in eighths.
In the Sempre animato section the dry, martellato style
continues (beginning at measure 807). This is especially the
case at the furioso where Busoni totally differs from the Liszt
piano version. Instead of Liszt's emotional outpouring of rich,
brilliant arpeggios, Busoni preferred to maintain continuity of
sound and in a more succinct manner (see Figure 28).
-4; 4 644 64 6M
w A mr 60 SL L I nm 1-%Ald
El. LL m Ami -I
IV V -W v V
I w I w PIE' LIM n I 1 4 no I TJ I Yjz -- %I, 1 71
- :;Na - -- - I- - - -mt- -j -a m
pfiIf (fu nioso) Lk.I*....0 8- -
ii
I A 1 iA pf LM idk LL I lw MUTL 11 1 W 13L T-1
Ot Tl w Of I I 1 64 PW PW Of fu YAM% TI i i A 64 Lli I UL - m 44 rl r TI
AIL
n TI I
t
A : L
tj - H A
38
Fig. 28--Mephisto Waltz, measures 840-851, furioso, martellato passage.
There is a cadenza added (measures 869-875), however, be
tween this section and the Vivace fantastico following section.
After this section is another cadenza, the song of the nightin
gale, which does follow the orchestral version. Here Busoni
strongly characterizes the flute part (measures 923-929) and
harp (measures 930-933).
The Presto coda (measures 934-989) takes the original first
ending, again, in martellato style. Following a final double
trill (really a triple trill, as there are now three notes per
hand) the piece ends somewhat sarcastically in a chromatic, al
ternating octave-chord passage played in, by now typical, sec
camente fashion.
Throughout this piece, which Sacheverell Sitwell once
called "one of the great documents of Romanticism, "50 Busoni
50 Sacheverell Sitwell, Liszt (New York, 1966), p. 229.
39
demonstrated a unique ability to crystallize the essence of
another's original composition and actually to go beyond the
original intentions. The variety of tone color contained in
the piano certainly attests to Busoni's belief that "the trumpet
can blare, but not sigh; contrariwise, the flute; the pianoforte
can do both."5 1
Busoni, throughout his career, viewed the merits of the
transcription from a unique aesthetic perspective. In his
Essence of Music (published in 1922), a compendium of many of
his musical essays, he addressed the problem, as follows:
Thus in the virtuoso sense transcriptions are suiting another's ideas to the personality of the transcriber. With weak personalities such transcriptions become weak pictures of stronger originals, and mediocrity. . . brought forth. . . a great number of mediocre and even tasteless and distorted transcriptions. Music like this gave transcription a bad name. . . My final opinion about it is this: that notation is itself the transcription of an abstract idea.5 2
One of the primary goals of the present research has been
to take these three works--while excellent, although mostly un
familiar repertoire--that represent different compositional
media--that is, an original work, a transcription based upon an
orchestral score, and another original piano piece but which
stems from a totally different medium(opera)--and, thus, examine
the composer's consistency of texture and of stylistic quality.
51 Busoni, Sketch, p. 101.
52 Busoni, Essence, pp. 86-87.
40
If he was successful in all three totally different formats of
composition, then here is a uniqueness of depth which needs to
be revealed.
By this time, in his final years, Busoni had achieved a
stylistic synthesis reflecting his concern with clarity of
texture, a certain visionary mysticism, and a variety of pian
istic tone color. The three compositions under consideration
here all are illustrative of these and various other aspects of
Busoni's aesthetic beliefs. The Toccata, labeled by Larry Sitsky
as "Busoni's final statement concerning the possibilities of the
true Neo-Classicism,"53 must be viewed in light of Busoni's own
statements concerning what he called "Young Classicism." In The
Essence of Music, Busoni explained, "By 'Young Classicism' I mean
the mastery, the sifting, and the turning to account of all the
gains of previous experiments and their inclusion in strong and
beautiful forms."54
In this statement Busoni wanted to avoid any negative conno
tation of merely returning to old forms. Instead, he showed his
desire to weld new and old elements successfully together. The
Carmen Fantasy and the Mephisto Waltz represent a creative ex
perience in pianistic tone color. While rooted harmonically in
the past, however, the characters of the pieces reflect original
53 Sitsky, op. cit., p. 24.
5 4 Busoni, Essence, p. 20.
41
thought leading toward the future and, as Philipp Jarnach put it,
his "highest developed sense of sound." 5 5
Truly a "Renaissance man," 56 Busoni was ever the Faustian
seeker of knowledge. In his poetic work Der machtige Zauberer
(written 1905) he revealed his deepest goals: "I want to attain
the unknown! What I already know is boundless. But I want to go
even further. The final word still eludes me."57
In his search for "essence" in music he sought "an art which
stands 'jenseits von Gut und Bose' (beyond good and evil), and
which remains a great art in every age. . . ."58 It was to this
purpose--whether through his compositions, his performing, his
teaching, or his aesthetic writings--that he made his most unique
contributions.
55Philipp Jarnach, "Ferruccio Busoni," Zeitschrift fur Musik, XII (December, 1932), p. 1052.
56 Frederic V. Grunfeld, "Ferruccio Busoni," Musical America, LXIX (November, 1949), p. 6.
57 Stuckenschmidt, op. cit., p. 133.
5 8 Busoni, Essence, p. 25.
BIBLIOGRAPHY
Books
Apel, Willi, Masters of the Keyboard, Cambridge, Massachusetts, Harvard University Press, 1947.
Austin, William W., Music in the Twentieth Century, New York, W. W. Norton and Co., 1966.
Bukofzer, Manfred F., Music in the Baroque Era, New York, W. W. Norton and Co., 1947.
Busoni, Ferruccio, The Essence of Music and Other Papers, translated by Rosamund Ley,7London, Rockliff Publishing Corp., 1957.
, Letters to his Wife, translated by Rosamund Ley, London, E. Arnold and Co., 1938.
, Sketch of a New Esthetic of Music, translated by Theodore Baker, New York, G. Schirmer, Inc., 1911.
, Scritti e pensieri sulla musica, translated by L. Dallapiccola and G. M. Gatti, second edition, Milan, Ricordi, 1954.
Dent, Edward J., Ferruccio Busoni, London, Ernst Eulenberg, Ltd., 1974 (first published by Oxford University Press, 1933)
Dieren, Bernard von, Down Among the Dead Men and Other Essays, London, Oxford University Press, 1935.
Gerig, Reginald R., Famous Pianists and Their Technique, Washington-New York, Robert B. Luce, Inc., 1974.
Kirby, F. E., A Short History of Keyboard Music, New York, The Free Press, 1966.
Krellmann, Hanspeter, Studien zu den Bearbeitungen Ferruccio Busonis, Regensburg, Gustav Bosse, 1966.
Leichentritt, Hugo, Ferruccio Busoni, Leipzig, Breitkopf and Hartel, 1916.
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43
Searle, Humphrey, The Music of Liszt, second edition, revised, New York, Dover Publications, Inc., 1966 (first published by Williams and Norgate, Ltd., 1954).
Selden-Goth, Gisella, Ferruccio Busoni: Un profilo, Firenze, Leo S. Alschki, 1964.
Schonberg, Harold C., The Great Pianists, New York, Simon and Schuster, 1963.
Sitwell, Sacheverell, Liszt, New York, Dover Publications, Inc., 1967 (first published by Houghton Mifflin Co., 1934).
Stuckenschmidt, H. H., Ferruccio Busoni: Chronicle of a European, translated by Sandra Morris, London, Calder and Boyars, 1970.
Walker, Alan, editor, Franz Liszt: The Man and His Music, London, Barrie and Jenkins, 1970.
Articles
Agostini, Franco, "Introduction," The Piano Quarterly, XXVIII (Winter, 1979-1980), 16-20.
Armstrong, Peter, "Why Play and Teach Busoni?" The Piano Quarterly, XXVIII (Winter, 1979-1980), 28-31.
Busoni, Ferruccio, "Schnitzel und Spine," Zeitschrift fur Musik, XII (December, 1932), 1045-1050.
Dent, Edward J., "Busoni, " Grove's Dictionary of Music and Musicians, edited by Eric Blom, fifth edition, 10 vols., I, New York, St. Martin's Press, Inc., 1954.
Grunfeld, Frederic V., "Ferruccio Busoni," Musical America, LXIX (November, 1949), 6, 30.
Hsu, Dolores M., "The Paradox of Busoni," The Piano Quarterly, XXVIII (Winter, 1979-1980), 48-53.
Jarnach, Philipp, "Ferruccio Busoni, " Zeitschrift fur Musik, XII (December, 1932), 1050-1052.
Johansen, Gunnar, "Busoni the Pianist--in Perspective," The Piano Quarterly, XXVIII (Winter, 1979-1980), 46-47.
Kirby, F. E., "New Recordings," The Piano Quarterly, XXVIII (Winter, 1979-1980), 54.
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Leichentritt, Hugo, "Ferruccio Busoni," The Music Review, VI (1945), 206-219.
, "Ferruccio Busoni as a Composer," The
Musical Quarterly, III (1917), 69-97.
Mason, R. M., "Enumeration of Synthetic Musical Scales by Matrix Algebra and a Catalogue of Busoni Scales," Journal of Music Theory, XIV (1970), 92-126.
Mellers, Wilfrid, "The Problem of Busoni," Music and Letters, XVIII (1937), 240-247.
Paddack, Christopher, "The Piano Art of Ferruccio Busoni," Etude, LXXI (September, 1953), 13, 51.
Raessler, Daniel M., "Ferruccio Busoni as Experimental Keyboard Composer," The Piano Quarterly, XXVIII (Winter, 1979-1980), 39-45.
Rosenfeld, Paul, "Busoni in His Letters," The Musical Quarterly, XXV (1939)j, 226-231.
Schnapp, Friedrich, "Busonis musikalisches Schaffen," Zeitschrift fUr Musik, XII (December, 1932), 1045-1050.
Sitsky, Larry, "Busoni: A Short Survey of the Piano Music," The Piano Quarterly, XXVIII (Winter, 1979-1980), 22-27.
, "Ferruccio Busoni's Attempt at an Organic Notation for the Pianoforte and a Practical Application for It," The Music Review, XXIX (February, 1968), 27-33.
Vlad, Roman, "Busoni's Destiny," The Score, XII (1952), 3-10.
Weiss, Edward, "Busoni: Essence of Musical Spirituality," Music Journal, XXXIII (September, 1975), 6-7.
Wirth, Helmut, "Busoni," Die Musik in Geschichte und Gegenwart, edited by Friedrich Blume, 15 vols., II, Kassel u. Basel, Barenreiter, 1952.
, "Busoni," The New Grove's Dictionary of Music and Musicians, edited by Stanley Sadie, sixth edition, 20 vols., III, London, Macmillan Publications, 1980.
Unpublished Material
Harrison, Charles Scott, "Busoni's Doktor Faust," unpublished master's thesis, North Texas State University, Denton, Texas, 1976.
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Vogel, Phyllis Hays, "Annotated Bibliography of the Life and Works of Ferruccio Busoni," North Carolina State University, Raleigh, North Carolina, n.d.
, "The Harmonic Language Used by Ferruccio Busoni in his Piano Music from 1900-1924," unpublished doctoral dissertation, Peabody Conservatory of Music, Baltimore, Maryland, 1973.
Musical Scores
Bizet, Georges, Carmen, New York, G. Schirmer, Inc., 1958.
Busoni, Ferruccio, Chamber-Fantasy on Bizet's Carmen, Wiesbaden, Breitkopf u. H rtel, 1921.
, The New Busoni, compiled by Franzpeter
Goebels, 2 vols., Wiesbaden, Breitkopf u. H~rtel, 1968.
, Toccata: Preludio, Fantasia, Ciaccona, Wiesbaden, Breitkopf u. Hdrtel, 1922.
Frescobaldi, Girolamo, Toccatas: Toccate e Partite, d'Intavolatura di Cimbalo, libro secundo, 1615, transcription and registration by G. Sazerac deForge, 2 vols., II, Paris, Editions musicales de la Schola Cantorum et de la Procure generale de musique, 1955-59.
Liszt, Franz, Mephisto Waltz No. I (Dance in the Inn from Lenau's Faust), edited by Emil von Sauer, New York, Edition Peters, n.d.
, Mephisto Waltz (Episode from Lenau's Faust: Dance in the Village Inn), transcribed from the orchestra score by Ferruccio Busoni, New York, G. Schirmer, Inc., 1904.
Recording Notes
Busoni and His Pupils Play Busoni Compositions, notes by Edward Weiss, International Piano Archives 104, 1976 (originally issued, 1922).
