In his pamphlet The Piano Concerto, which Busoni completed in 1904, is atypical of him, to the extent that any of his works are typical. The concerto, by contrast, is a gaudy, unapologetically over-the-top piece, stuffed with references to nineteenthcentury Romantic styles. The composer Otto Luening once said that when Busoni played the piano he “made the instrument sound like an Aeolian harp as described by the poets, or like sound floating from a box of electronic resonators with apparently no relationship to hammered-string sound.” Adès achieved similarly eerie effects in Liszt’s
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“A hymn to immoderation,” Bernard Holland aptly called it in the Why does such a wildly entertaining creation remain such a rarity? In the last minute, a rocketing fast tempo takes over, the festival mood returns, and the music conjures itself away, with a Mephistophelean bang.The monster concerto has prospered on recordings. Having returned the Busoni to circulation, in the second half of his December concert Botstein led the The great Liszt moment of recent months was, rather, an intimate one. For one thing, orchestras are naturally reluctant to undertake the expense of hiring both a soloist and a chorus for a single program. It looks like what might have appeared on the back of the dollar bill if the Art Nouveau movement had taken over the United States Mint.) The endless arpeggios, double-octave runs, and other splashy effects are often marked at relatively low volume, or are partly covered by the orchestral din. It has the mood of a street festival turned violent. There are formidable accounts by John Ogdon, Garrick Ohlsson, and Hamelin, among others; the most thrilling is a live recording from the 1988 London Proms, with Mark Elder conducting the BBC Symphony and Peter Donohoe all but setting fire to the piano. Also, the piano part is generally considered the most difficult in the concerto literature, and it is difficult in a way that may fail to satisfy the average crowd-pleasing virtuoso.
There are formidable accounts by John Ogdon, Garrick Ohlsson, and Hamelin, among others; the most thrilling is a live recording from the 1988 London Proms, with Mark Elder conducting the BBC Symphony and Peter Donohoe all but setting fire to the piano. (The published score is decorated with an etching inspired by Busoni’s own visualization of the piece: an array of temples interspersed with cypress trees and exotic birds, and Vesuvius erupting in the background. Sold by Collectiblecounty and ships from Amazon Fulfillment.
In his final two decades, Busoni favored subdued colors and shadowy forms, his music always on the point of vanishing over the horizon. Every ten years or so, Ferruccio Busoni, the secret emperor of European music at the turn of the twentieth century, moves in from the margins of the repertory, momentarily seizes the attention of New York concertgoers, and then retreats into semi-obscurity, like Friedrich Barbarossa going to sleep beneath his mountain. Every ten years or so, Ferruccio Busoni, the secret emperor of European music at the turn of the twentieth century, moves in from the margins of the repertory, momentarily seizes the attention of New York concertgoers, and then retreats into semi-obscurity, like Friedrich Barbarossa going to sleep beneath his mountain. (The disk is out of print, but it can be obtained through used-CD venders.) In the last minute, a rocketing fast tempo takes over, the festival mood returns, and the music conjures itself away, with a Mephistophelean bang.The monster concerto has prospered on recordings. Then again, a sense of imminent disaster is integral to the piece.
Busoni: Piano Concerto by Kirill Gerstein Audio CD $19.99. A cosmopolitan who never belonged fully to one country or culture, he was born near Florence in 1866; spent his childhood in Trieste; studied in Vienna, Graz, and Leipzig; lived in Helsinki, Moscow, Boston, and New York; settled in Berlin and resettled in Bologna; spent much of the First World War in Zurich (where he met both Joyce and Lenin); and then returned to Berlin, where he died. Born to a musical family in Italy, the young Busoni was taken to Vienna, where was befriended by Brahms and met Liszt. From an almost random heap of materials, Busoni fashions a solid, symmetrical structure, with a large slow movement at the center, two bustling scherzos on either side, and solemn-toned utterances as bookends. In his pamphlet The Piano Concerto, which Busoni completed in 1904, is atypical of him, to the extent that any of his works are typical. Ferruccio Busoni was a protean figure: a pianist of fearsome virtuosity, a marvelous composer, an influential conductor, and a subtle writer. As if this weren’t enough, the final movement has a male chorus intoning lines from Adam Oehlenschläger’s 1805 play, Alfred Brendel was within his rights when he called the concerto “monstrously overwritten.” Yet it is also a remarkable feat of controlled chaos. The New Yorker, Jan. 9.
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