By Grigory Kogan, Svetlana Belsky
Ferruccio Busoni is most generally recognized at the present time because the composer of such works because the moment Violin Sonata, the incidental song for Gozzi's Turandot, and the main huge piano concerto within the repertory (some 80 mins lengthy, with male refrain within the finale). yet Busoni was once additionally popular in his day as an writer and pedagogue and, such a lot in particular, as a pianist. Busoni's recordings of items through Chopin and Liszt -- and of his personal preparations of keyboard works via Bach and Beethoven -- are a lot prized and studied this present day through connoisseurs of piano enjoying. but even his most crucial biographers have solid just a cursory look on the pianistic element of Busoni's attention-grabbing profession. Grigory Kogan's e-book Busoni as Pianist (published in Russian in 1964, and the following translated for the 1st time) was once and continues to be the 1st and basically research to pay attention solely on Busoni's contributions to the realm of the piano. Busoni as Pianist summarizes stories of Busoni's taking part in and his personal writings at the topic. It additionally heavily analyzes the surviving piano roles and recordings, and examines Busoni's variants, preparations, and pedagogical output. As such, will probably be of curiosity to pianists, academics and scholars of the piano, historians, and all who love piano tune and the artwork of piano taking part in. Grigory Kogan (1901-1979) was once a number one Soviet pianist and tune critic. A conservatory professor on the age of twenty-one, Kogan created the first-ever direction in Russia facing the heritage and thought of pianism. via his superb lectures, his live performance performances, and his many books, articles, and studies, Kogan prompted a complete iteration of Soviet pianists. Svetlana Belsky is a instructor and performer, and is coordinator of Piano reports on the collage of Chicago.
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Extra info for Busoni as Pianist
23 Originality and novelty distinguished not only Busoni’s interpretation but also the technical side of his pianism. Acting, even here, “against all tradition,” according to Adolf Weissmann24 he “created for himself a new technique, contradicting all the rules. . ”25 “Busoni the Pianist, . ” confirms another critic, “much like Busoni the Composer, or Busoni the Interpreter, does not fit into any mold: his method of playing the piano is wholly original. ”26 This applies to all aspects of the piano technique—the so-called position of the hands, their movement, fingering, pedaling: “the pedaling of this giant-pianist breaks with the most essential elements of usual pedaling.
For the composition prize he submitted a Konzertstück for Piano and Orchestra Op. 31a (dedicated to Rubinstein), a Sonata for Violin and Piano Op. 29, two solo works for piano Op. 30 (Kontrapunktisches Tanzstück and Kleine Ballettszene III), and two cadenzas for the Fourth Piano Concerto of Beethoven (in G Major, Op. 58); at the piano competition he performed the D-Major Prelude and Fugue of Bach, Mozart’s A-Minor Rondo, Sonata Op. 111 of Beethoven, the C-Minor Nocturne, F-sharp Minor Mazurka and the F-Minor Ballade of Chopin, the first two numbers of Schumann’s Kreisleriana, Waldesrauschen of Liszt, and the Fourth (D-Minor) Concerto of Rubinstein.
Thus ends the first period in Busoni’s life and career. From now on, a student’s observance of the canons of “academic Romanticism” is behind him. The master leaves the paths of others to follow his own direction. indd Sec2:16 12/3/2009 8:38:27 PM Chapter Three Now settled in Berlin, Busoni renewed his concertizing, appearing before the public as a much-transformed pianist. During the years described in the previous chapter, his playing offended or irritated no one, nor did it make a particularly strong, extraordinary impression.