Busoni Piano

Once a towering inspirational figure in the musical life of Berlin, later a crucial influence on musicians as diverse as Sibelius, Varèse, Schoenberg and Weill, Ferruccio Busoni is now being rediscovered by a new generation of performers and listeners.

The Busoni concerto, with its five movements, choral finale and a length of over 70 minutes, is surely the most grandiose ever written. But this is no over-ambitious monster; Busoni was one of the greatest pianists the world has known, but he was also a great intellectual with very strong views on art and culture. This work is the masterpiece of his middle years, more of a symphony in the breadth and scope of its ideas, but at the same time almost casually requiring the most formidable technical ability from the soloist. There is no doubt that this is one of music's major neglected masterpieces.

John Ogdon was one of the great interpreters of Ferruccio Busoni's keyboard music in the first stage of its latter-day revival, and his EMI Angel recording of Busoni's Piano Concerto, Op. 39, can be said to have "made" that work as a viable, if impractical, concert staple. Between that triumph in 1967 and the recordings on Altarus' Busoni: Piano Works, made in 1988 – the last full year of Ogdon's short life – there were a host of detours and disappointments for the pianist. A nervous breakdown or two, long hospitalizations, longer absences from the concert stage, and a comeback received lukewarmly by critics were all hallmarks of a career that would have stopped lesser men cold.

John Ogdon was one of the great interpreters of Ferruccio Busoni's keyboard music in the first stage of its latter-day revival, and his EMI Angel recording of Busoni's Piano Concerto, Op. 39, can be said to have "made" that work as a viable, if impractical, concert staple. Between that triumph in 1967 and the recordings on Altarus' Busoni: Piano Works, made in 1988 – the last full year of Ogdon's short life – there were a host of detours and disappointments for the pianist. A nervous breakdown or two, long hospitalizations, longer absences from the concert stage, and a comeback received lukewarmly by critics were all hallmarks of a career that would have stopped lesser men cold.

Busoni embodied an essentially recreative approach to the music of the past. His Bach transcriptions reveal an absolute command of intricate polyphony and a limpid clarity. Mozart stood as an aesthetic and technical exemplar while Cramer’s little-known Etudes are adapted for modern piano technique. Busoni preserved the Lutheran austerity of Brahms’s Chorale Preludes for Organ, Op. 122 whereas in the Mephisto Waltz No. 1 he augments Liszt’s heady writing with a super-virtuosity of his own. Wolf Harden I one of the most versatile pianists of his generation. He has enjoyed great success in the Trio Fontenay, an ensemble that he founded in 1980 and with which he has toured to all the world’s major music centres. Harden devotes himself not only to chamber music but, with the same success, to the solo piano repertoire.

Busoni needs listening to in extenso, troughs (not deep ones) as well as peaks. He was the first to acknowledge that his mature style was late in developing, but he was no late starter: the earliest music here, and pretty accomplished it is too, was written at 12 years old and by the age of 18 he had written the remarkable Variations and Fugue on Chopin's C minor Prelude, a tour de force of late nineteenth-century pianism and sonorous inventiveness.

Bach, Kurtág, Busoni - Piano Duet - GrauSchumacher Piano Duo (2007)
Classical | EAC: FLAC+Cue+Log | 1 Cd, Covers | 273 Mb
Label: col legno - Date: 2007

Andreas Grau and Götz Schumacher, with their talent for putting together clever and innovative programs, have established themselves as one of the world's top piano duos. Their cooperation at the piano is evidence that the two expert pianists are nothing short of musical soul mates…