Ferruccio Busoni - Claudius Tanski - Piano Works (1992)

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Ferruccio Busoni - Claudius Tanski - Piano Works (1992)

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Ferruccio Busoni - Claudius Tanski - Piano Works
EAC+LOG+CUE | FLAC: 180 MB | Full Artwork: 174 | 5% Recovery Info
Label/Cat#: MDG, NDR # MDG L 3436 | Country/Year: Germany 1992
Genre: Classical | Style: Romantic, Early 20th Century

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Ferruccio Busoni - Claudius Tanski - Piano Works (1992)

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Ferruccio Dante Michelangelo Benvenuto Busoni (1 April 1866 – 27 July 1924) was an Italian composer, pianist, editor, writer, piano and composition teacher, and conductor.
Most of Busoni's works are for the piano. Busoni's music is typically contrapuntally complex, with several melodic lines unwinding at once. Although his music is never entirely atonal in the Schoenbergian sense, his mature works, beginning with the Elegies, are often in indeterminate key. He was in contact with Schoenberg, and made a 'concert interpretation' of the latter's 'atonal' Piano Piece, Op. 11, No. 2 (BV B 97), in 1909. In the program notes for the premiere of his own Sonatina seconda of 1912, Busoni calls the work senza tonalità (without tonality). Johann Sebastian Bach and Franz Liszt were key influences, though late in his career much of his music has a neo-classical bent, and includes melodies resembling Mozart's.
Some idea of Busoni's mature attitude to composition can be gained from his 1907 manifesto, Sketch of a New Aesthetic of Music, a publication somewhat controversial in its time. As well as discussing then little-explored areas such as electronic music and microtonal music (both techniques he never employed), he asserted that music should distill the essence of music of the past to make something new.
Many of Busoni's works are based on music of the past, especially on the music of Johann Sebastian Bach (see below). The first version of Busoni's largest and best known solo piano work, Fantasia contrappuntistica, was published in 1910. 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 the BACH motif (B flat, A, C, B natural). Busoni revised the work a number of times and arranged it for two pianos. Versions have also been made for organ and for orchestra.
Busoni used elements of other composers' works. 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) is based on themes from Georges Bizet's opera Carmen.
Busoni also drew inspiration from non-European sources, including Indian Fantasy for piano and orchestra. It was composed in 1913 and is based on North American indigenous tribal melodies drawn from the studies of this native music by ethnomusicologist, Natalie Curtis Burlin.
Busoni was a virtuoso pianist, and his works for piano are difficult to perform. His Piano Concerto, Op. 39 (1904) is one of the largest such works ever written. Performances generally last over seventy minutes, requiring great stamina from the soloist. The concerto is written for a large orchestra with a male voice choir that is hidden from the audience's view in the last movement. British pianist John Ogdon, one of the champions of the work, called it "the longest and grandest piano concerto of all."[2] (However, it was not the first piano concerto to include a chorus, as is often assumed; Daniel Steibelt wrote a similar work in 1820.)
Busoni's Turandot Suite (1905), probably his most popular orchestral work, was expanded into his opera Turandot in 1917, and Busoni completed two other operas, Die Brautwahl (1911) and Arlecchino (1917). He began serious work on his best known 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, but in the 1980s Antony Beaumont, the author of an important Busoni biography, created an expanded and improved completion by drawing on material that Jarnach did not have access to.
Busoni's music can be considered in the context of his three major aesthetic beliefs: essence, oneness and junge Klassizität (literally 'young classicism'). The essence of music suggests that music is free from any prescriptive labels; in other words, it is absolute. For example, Busoni asked us to question just what it was in a piece of instrumental church music, that was inherently 'church'. The oneness of music proposes that music is free from prescriptive devices, and that there are endless possibilities of composition. Finally, in his words, junge Klassizität (often mistaken for neo-classicism) included 'the mastery, the sifting and the turning to account of all the gains of previous experiments and their inclusion in strong and beautiful forms' (Busoni, 'Letter to Paul Bekker', 1920).
His music falls in that most fractious of periods, the fin de siècle, where chromatic elements became part of the structure of the music, rather than being decoration. By studying Busoni's aesthetic beliefs we can suggest that his music is metatonal - given that he sought to include the old with the new to create limitless compositions. This is not to suggest (as Pfitzner did, when he attacked The Sketch of a New Aesthetic of Music by Busoni) that his music is without form, nor is it without any sense of tonality (a common mistake when one finds oneself between Classical and Serial music). This grey area of music history is more engaging because the traditional forms and pitch structures have taken a side road, a road that did not ultimately lead to serialism.
In order to understand Busoni's compositions one should take only what is given in the music, and interpret them through his aesthetic beliefs (though this is no easy task, and the everpresent binarism between what a composer says and what a composer does should be kept in mind). Busoni can be recognised as a man with a variety of musical abilities. He wrote compositions and libretti, performed as a concert pianist, transcribed pieces by other composers (such as Bach, Mozart and Liszt), taught master classes, and produced aesthetic writings. It is to this end that Busoni considered music a fusion of disciplines, or to use his words 'to recognise the whole phenomenon of music as 'oneness'. (Busoni, 'The Essence of Oneness of Music', 1921).
For more information on this see: Paul Fleet, Ferruccio Busoni: A Phenomenological Approach to his Music and Aesthetics (Lambert Academic Publishing, 2009). wikipedia

Claudius Tanski, born 1959 in Essen, Germany, studied piano and conducting in Essen, Salzburg, Vienna and London. His essential and most important teacher was Alfred Brendel. Claudius Tanski has received a number of major distinctions and international prizes. He gave concerts at a lot of festivals and made several TV-productions for German TV-stations. His recordings of piano works were honoured twice with the “German Record Critics Prize” and were selected for the year’s “Want list” of USA’s leading CD-magazine Fanfare. Claudius Tanski is a busy chamber musician and member of the “Consortium Classicum”.

Claudius Tanski, geb. 1959 in Essen, studierte Klavier und Dirigieren in Essen, Salzburg, Wien und London. Sein wichtigster Lehrer war Alfred Brendel.
Er erhielt Preise und Auszeichnungen bei verschiedenen Wettbewerben (Vercelli, Senigallia, Bozen, Budapest) und gab zahlreiche Konzerte bei internationalen Festivals (Lockenhaus, Schleswig-Holstein Festival, Carinthischer Sommer, Klavier-Festival Ruhr, Rheingau-Festival, Chopin Festival Ostrów/Polen, Klavierfestival Atlanta/USA).
Er nahm an mehreren TV-Produktionen für ARD und NDR/TV teil. Seine Einspielungen erhielten bereits zweimal den “Preis der deutschen Schallplattenkritik”. Innerhalb seiner umfangreichen Kammermusiktätigkeit ist er ständiges Mitglied des “Consortium Classicum” . mdg

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