Podcasts about Ferruccio Busoni

Ferruccio Busoni (1866 – 1924) - Symphonìsce Suite n. 11.       Praeludium. Allegro giusto (0:00)2.       Gavotte. Moderato (10:12)3.       Gigue. Allegro vivace - Più vivo (15:52)4.       Langsames intermezzo. Adagio non troppo - Con moto - Tempo I (21:50)5.       Alla breve: Allegro fugato. Allegro energico (27:41)  Berlin Radio Symphony OrchestraArturo Tamayo, conductor

Ferruccio Busoni (1866 - 1924) - Piano Concerto in Do maggiore, Op. 39Prologo e Introito: Allegro, dolce e solennePezzo giocosoPezzo serioso:Introductio: Andante sostenuto·         Prima pars: Andante, quasi adagio·         Altera pars: Sommessamente·         Ultima pars: a tempo  5. All'Italiana: Tarantella: Vivace; In un tempo  6. Cantico: Largamente (con coro)Marc-André Hamelin, pianoforteLahden Kaupunginorkesteri Osmo Vänskä, direttore

O pianista português João Costa Ferreira lança o seu mais recente disco, José Vianna da Motta, Poemas Pianísticos, vol 2, no próximo dia 26 de Outubro, em Portugal. Nos nossos estúdios, João Costa Ferreira destacou a importância de reabilitar o património musical português e partilha o "meticuloso processo de edição inerente à gravação" deste disco. O álbum é composto por 12 obras inéditas de José Vianna da Motta que o compositor escreveu entre os seus 5 e os 14 anos. RFI: Antes de falarmos da relação que tem com a obra de José Vianna da Motta, vamos falar da peça"Resignação", uma peça escrita para ser tocada com a mão esquerda. Apesar de existir um vasto repertório clássico de obras para a mão esquerda, continua a ser curioso ver um pianista a tocar apenas com a mão esquerda. De onde é que vem esta tradição ?João Costa Ferreira: Há toda uma tradição, sobretudo no século XX, quando vários compositores célebres como Ravel ou Prokofiev compuseram obras para o pianista Paul Wittgenstein. A partir daí começou a surgir mais reportório. Mas antes da primeira metade do século do século XX, já havia este repertório composto apenas para a mão esquerda e as razões são diversas: podia estar relacionado com alguma lesão física no braço direito, podia estar apenas relacionado como um desafio composicional. No caso do Vianna da Motta, não conheço a razão que o levou a compor esta obra "Resignação". O título em si carrega algo de negativo, portanto, é possível, e é apenas uma hipótese, que possa estar associado a algum problema que ele teve com o braço direito. O que, por exemplo, é possível de notar quando lemos os diários dele. Embora ele só tenha começado a escrever os diários depois de compor esta peça. Durante muitos anos, durante quatro ou cinco anos, ele refere-se - por mais de 30 vezes - a dores nos dedos e por uma dessas vezes refere-se ao dedo mindinho da mão direita. Pode ser apenas uma hipótese, que ele possa de facto ter tido um problema no braço direito, mas não é de descartar essa possibilidade, até porque nos diários que eu estava a referir, escritos  entre 1884 e 1890, ele escreve sobre sobre essa lesão na mão direita. Em 1907 e 1908 encontramos também cartas que ele escreveu a Margarethe Lemke, onde ele continua a insistir sobre problemas que ele tem nas mãos. Portanto, esse problema era recorrente.Há desafios técnicos para tocar esta peça? Normalmente, a melodia é tocada pela mão direita e  o acompanhamento pela mão esquerda. Há uma complexidade técnica quando se toca apenas com uma mão?Sim, há uma complexidade associada a isso. O repertório para piano é composto no sentido de conferir à mão esquerda a melodia e o acompanhamento à mão direita. Isto é uma regra geral. Obviamente que há muitas excepções e no caso do repertório para a mão esquerda, acaba por ser muitas vezes o polegar que tem a função de produzir a melodia, uma vez que é ele que está próximo dos agudos, embora muitas vezes a melodia esteja nos graves, nem que seja para imitar um instrumento grave, como o violoncelo, por exemplo. Isso, de facto, traz um desafio que é diferente, uma vez que é confiada a uma mão apenas duas funções diferentes, isto é, o acompanhamento e a melodia.Isso muda a dinâmica da interpretação?Sim, de certeza. Quando temos que tocar um baixo muito grave e a seguir uma melodia é diferente de tocar com as duas mãos porque podíamos tocar ao mesmo tempo. Quando se trata de tocar com uma mão apenas, temos que fazer aquilo que nós chamamos arpejos, isto é, tocar primeiro baixo e depois tocar o agudo. E isso acaba até por ter repercussões na expressão musical, acaba por ser diferente do ponto de vista estritamente técnico, mas também do ponto de vista musical. Acaba por ter consequências que muitas vezes são consequências, aliás, que eu diria automaticamente positivas porque num arpejado há uma conotação da expressão associada.Lança o seu mais recente disco, José Vianna da Motta, Poemas Pianísticos, vol 2. O que é que o motiva a continuar  a aprofundar a obra de José Viana da Motta e a publicar este segundo volume?Já tinha publicado um primeiro volume e não podia deixar de publicar um segundo. Este foi um receio que tive durante muito tempo. Será que um dia vai haver um segundo volume? É estranho haver apenas um primeiro volume. Era para mim uma vontade muito grande de publicar este segundo volume. O que é interessante no meu ponto de vista, do ponto de vista da reabilitação do património musical português, que é o trabalho que eu tenho vindo a fazer em torno da obra de Vianna da Motta e não só, mas sobretudo de Vianna da Motta. O interessante na publicação deste volume é que dá a conhecer mais 12 obras inéditas, que eram inéditas até há bem pouco tempo. Comecei primeiro por uma fase de revisão dos manuscritos e edição musical porque as obras nem sequer estavam publicadas e nenhuma delas estava gravada. Há a edição musical e depois a edição discográfica que é, aliás, feita para também dar a ouvir esta música a um público mais alargado porque nem toda a gente sabe ler música e pode ler uma música e tocá-la ao piano. Vejo isto como uma missão e estas 12 obras vêm também mostrar até que ponto Vianna da Motta era uma criança prodígio, fora de série, porque são obras compostas entre os seus cinco e os 14 anos, mas que não parecem nada terem sido compostas em tão tenra idade. É um trabalho do qual eu me orgulho muito, na verdade, e que espero que venha a mostrar uma faceta de Viana da Motta. Uma faceta estonteante, inacreditável. Mais uma faceta de Viana da Motta que valoriza o pianista que ele foi, mas também o compositor.O critério para a escolha destas 12 peças foi o facto de terem sido escritas neste período entre os cinco anos e os 14 anos. Hoje parece difícil perceber como é que uma criança de cinco anos consegue compor uma obra como algumas destas que integram este álbum...Sim,  isso explica a razão pela qual, quando o pai do Vianna da Motta o levou à corte para tocar perante o Dom Fernando II  e a condessa d'Edla, a família real não hesitou em financiar os estudos de Vianna da Motta no antigo Conservatório Real de Lisboa e depois até mais tarde, quando ele partiu para Berlim, em 1882, também no Conservatório ele continua a beneficiar do mecenato e foi sempre muito acompanhado pela família real. Era de facto uma criança excepcional, mesmo no seu tempo, muito embora talvez na altura as crianças chegassem a um grau de maturidade mais cedo. Mas mesmo assim, para ter tido tanta atenção por parte da família real, durante tantos anos, é porque de facto se tratava, apesar de tudo, de uma criança excepcional, mesmo no seu tempo.Quando procura o repertório de Vianna da Motta, onde é que se encontram as partituras?O espólio de Vianna da Motta encontra-se na Biblioteca Nacional de Portugal. Foi lá que eu trabalhei a maior parte do tempo na realização do meu doutoramento em Musicologia na Sorbonne Université. O trabalho que apresento agora é fruto de cerca de dez anos de investigação, embora já tenha havida outros discos, editado partituras. Foi na Biblioteca Nacional de Portugal, onde a maior parte das coisas de Vianna da Motta estão, que eu encontrei estas obras. Foi uma descoberta no sentido musical porque eram obras que estavam lá, às quais as pessoas tinham acesso e podiam abrir o livro, mas se calhar o interesse não foi despertado para que elas experimentassem ao piano e vissem qual era o interesse musical. Foi o que eu descobri. Foi compreender o interesse musical e trazê-las à luz do dia.E qual é então, portanto, o interesse musical? O facto destas obras serem inéditas, a complexidade ou até mesmo imagino, os desafios da interpretação?Eu não posso nunca deixar de ficar deslumbrado pelo facto de serem obras que exigem uma grande capacidade técnica e musical, tendo em conta a idade que ele tinha quando compôs. Do ponto de vista da revolução ou de algo que ele tenha trazido à música: ele compôs já tarde no seu tempo, num estilo romântico que era um estilo muito próprio da primeira metade do século XIX; a música de Vianna da Motta, mas, como aliás, a maior parte da música dos compositores da época, não foi uma música que permitiu uma revolução na história da música. Mesmo no final do século XIX, já havia compositores que estavam a experimentar outras linguagens musicais, enquanto Viana da Motta ficou sempre muito agarrado ao romantismo do início do século. Talvez isso explique uma porque é que a sua obra tem vindo a ser esquecida ou praticamente ignorada.Porque é tardia?Sim, exactamente. Mas se nós formos a pensar noutros compositores românticos que até no século XX compuseram, embora com traços impressionistas, traços mais modernos e que acabaram por ficar muito célebres. O próprio amigo dele, o Ferruccio Busoni, é pianista e compositor italiano. Viana da Motta tem três fases criativas. Esta série discográfica é dedicada à primeira fase criativa, que é as obras de infância. A terceira e última fase criativa de Vianna da Motta é a fase nacionalista,  isto é, da música de carácter nacional.A fase mais conhecida...Sim, é mais conhecida e nesse sentido Vianna da Motta terá tido um papel importante para aquilo que foi a evolução da história da música em Portugal. Embora já nos outros países em toda a Europa já se fizesse isso, isto e os compositores inspiravam-se imenso, sobretudo na música popular portuguesa, introduziam nas suas obras. Vianna da Motta foi, nesse aspecto, um pioneiro em Portugal e ele foi importante para abrir portas para que se desenvolvessem escolas de composição em Portugal. Escolas no sentido estético que abriram portas a Luís Freitas Branco ou Fernando Lopes Graça, Francisco Lacerda. Para a composição de obras inspiradas no folclore ou na música popular portuguesa. Tendo em conta o conjunto geral da obra de Vianna da Motta, é inegável a importância que ele teve para a história da música em Portugal.As obras de infância são mais uma espécie de reprodução daquilo que já se fazia em termos de danças; danças de salão, valsas, polacas, mazurcas, mas também muitas marchas. O primeiro disco, tinha sobretudo polacas, mazurcas que este disco já não tem e esses géneros musicais foram substituídos aqui por marchas, mas também tem valsas e músicas inspiradas em temas de óperas, por exemplo, que era algo que se fazia muito na época e obras que reflectem, aliás, o quotidiano de Vianna da Motta na vida lisbonense. Temos duas obras, por exemplo, neste disco, inspiradas no universo hípico, nas primeiras corridas de cavalos que tiveram lugar no antigo Jockey Club de Lisboa, que é onde hoje se encontra o Hipódromo do Campo Grande, por exemplo. Mesmo a própria gaité que é um galop, um galope, uma dança também frenética, também é inspirada nesse universo hípico dos cavalos.Estas obras são importantes porque, por um lado, embora não sejam revolucionárias, e eu insisto, houve muito poucas obras a serem revolucionárias na época. Para além de serem estonteantes, tendo em conta a idade dele, reflectem aquilo que ele era capaz de fazer e o quotidiano lisbonense que ele frequentava.De que forma é que este segundo volume se diferencia do primeiro?Para além do facto de já não ter as danças, as polcas, mazurcas, a marcha é mais a música de rua. Tem também uma fantasia inspirada numa ópera que o primeiro volume não tinha. Tinha, sim, uma obra dramática também nesse sentido, mas que era inspirada numa catástrofe que aconteceu na região de Múrcia, no sul de Espanha. E tem uma obra também incrível que é a última faixa As Variações sobre um tema original - ele compôs um tema e a partir dele escreveu várias variações. Isto é o mesmo tema, mas com outra decoração, com outra decoração que revela muitas capacidades, não apenas do ponto de vista composicional, mas pianístico, uma vez que ele tocava as obras que compunha, é por isso que eu falo da questão pianística. Ele compunha as obras ao piano. Essa obra, por exemplo, revela várias capacidades, uma vez que cada uma das 13 variações exige algo do ponto de vista técnico muito, muito diferente. Seja arpejos, seja acordes, seja oitavas. É como se ele ali explorasse as diferentes dificuldades técnicas que ele acharia que seriam necessárias a desenvolver. Até pode ser visto quase como aquilo que nós chamamos um estudo para piano, isto é, uma obra composta para desenvolver um determinado tipo de jogo, de forma de tocar.Há também uma faixa que se chama Praia das Conchas, Praia das Conchas e uma praia que se situa no distrito de Lobata, na ilha de São Tomé em São Tomé e Príncipe, onde Viana da Motta nasce e vive há alguns anos. Viana da Motta vai guardar memórias que consegue depois transpor na sua música.A Praia das Conchas é a única obra que o Viana da Motta compôs, inspirado no local do nascimento que é São Tomé. É uma obra que é uma quadrilha de contradanças, portanto origem popular da dança, em que ele escreve cinco danças e cada uma delas tem o nome de uma outra praia: a praia Mutamba. Há duas praias que eu não encontrei o nome que é Praia Soares, Praia do Sal. Sei que há muitas salinas no norte, mas são tudo praias ali perto da praia, porque há a praia, Mutamba, a praia do mouro também, acho que hoje é a praia dos Tamarindos. E depois há duas praias que eu não consegui encontrar. Andei à procura nos mapas e não consegui encontrar. Pode acontecer que estes nomes não existissem na época, que eram falados pela população local apenas e que nunca tinham sido registados. Vianna da Motta terá não lembrado das praias, uma vez que ele saiu de São Tomé muito cedo, mas penso que terá sido o pai. Na minha opinião, terá sido o pai a falar daquelas praias que ele provavelmente frequentava quando morava em São Tomé e Príncipe. E foi a partir daí que o Viana da Motta compôs estas cinco danças, inspiradas nas praias que eu acredito que sejam todas as praias no norte temos que encontrar a Praia Soares e a Praia do Sal.Como é que correu o processo de gravação deste disco; a elaboração, a escolha das peças, o estudo das obras seleccionadas e depois a gravação?Este é um objecto pequeníssimo e por trás dele está todo um trabalho absolutamente estonteante. Foram três anos de trabalho, sem contar, obviamente, com os dez anos que eu falei há bocadinho de investigação do doutoramento, os outros discos que eu gravei antes disto. Obviamente que isto também é um bocado fruto desse trabalho. Não foi tudo feito em três anos, mas entre o lançamento do primeiro volume desta série discográfica e este agora, passaram-se praticamente três ou quatro anos. Durante esse tempo houve tanta edição musical, a tal revisão dos manuscritos, que foi essencial porque há manuscritos que estão num estado muito difícil de descodificar, partes que estão rasgadas, um pedaço que está aqui, outro pedaço que está ali.E o que é que se faz nessas situações?É preciso compreender e conhecendo a linguagem da composição de Vianna da Motta. É importante para saber também avaliar e tentar perceber aquilo que ele queria. Conhecer a própria linguagem de Vianna da Motta, a linguagem romântica e trabalhar a partir daí, encontrando a forma como o Vianna da Motta imaginou e concebeu a sua obra. Não há assim tantos pedaços rasgados e perdidos. Apesar de tudo são desafios porque antes de tomar uma decisão é preciso ter mesmo a certeza daquilo que se está a fazer. Muitas vezes não se tratava de pedaços perdidos, mas, por exemplo, numa mesma página, várias versões escritas uma por cima das outras. Era preciso perceber cronologicamente aquilo que aconteceu. E muitas vezes havia indícios. Havia uma coisa feita a caneta, outra coisa feita a lápis, por exemplo, coisas feitas com canetas diferentes ou, aliás, com pontas de canetas diferentes. Houve esse trabalho quase de detective que faz parte do meu trabalho como investigador que foi a edição musical e a publicação. Depois a gravação em estúdio, foram cerca de 20 horas em estúdio. Foi um mês a fazer uma pré montagem de 8 horas todos os dias, a trabalhar numa pré-montagem apenas. Depois foram mais uns cinco ou seis dias de montagem. E depois as ilustrações que também não posso esquecer, uma ilustração para cada uma das faixas feitas pela artista portuguesa Mariana Miserável, que é o nome artístico de Mariana Santos e pôs todo o trabalho também do design gráfico e a produção, encontrar financiamentos junto de várias entidades. Tudo isto é um trabalho colossal, de facto, e que explica a razão pela qual só quatro anos depois de ter lançado o primeiro volume, é que lança agora este segundo.Talvez um próximo volume dedicado à fase mais conhecida de Vianna da Motta, a música mais nacionalista?Já lancei um dedicado às cinco rapsódias portuguesas, que se inspiram em 17 temas populares portugueses. Creio que dessa fase, como disse há pouco e muito bem, é a fase mais conhecida do Viana da Motta, ou já muitas coisas foram gravadas, aliás praticamente tudo. Tenho mais interesse para já em acabar as obras desta fase. E a haver um próximo disco, será um terceiro volume dedicado também à obra de infância, mas o qual terá não apenas obras para piano solo, mas também música de câmara.Nesta fase criativa, portanto, até aos 14 anos, até 1882, que é o período em que ele vai para Berlim e depois muda completamente a sua estética. Nesta fase criativa existe ainda todo um vasto repertório para piano solo, mas obras bastante grandes e exigentes do ponto de vista técnico e físico, mas também música de câmara. Tem piano para seis mãos, ou seja, três pessoas ao piano a tocar uma mesma obra, inspirada numa obra do compositor Meyerbeer, Robert le Diable. Tem também uma grande sonata para piano e flauta. Tenho a partitura a descobrir uma vez mais no sentido musical: abrir a partitura, tocar e tentar perceber porque é muitas vezes aí que se encontra e que reside a descoberta. A haver um terceiro volume, será um volume com uma ou duas obras ainda de piano solo e o resto é música de câmara.

Tom Sutcliffe is joined by Rhianna Dhillon and Viv Groskop to review novel Echoes by Evie Wyld, which focuses on Max, a ghost who, stuck in the flat they had shared, watches his girlfriend grieving and discovers secrets about her. Pianist Benjamin Grosvenor talks about his upcoming performance of the longest concerto ever written, the Piano Concerto by Ferruccio Busoni, whose centenary is celebrated at this year's Proms. We'll also review the film Didi, a coming of age film set in 2008, focussing on a 13-year-old Taiwanese-American boy learning how to navigate life, love and family relations.Presenter: Tom Sutcliffe Producer: Corinna Jones

Ferruccio Busoni gehört zu den berühmtesten Pianisten nach Franz Liszt. Als Komponist aber war er umstritten: Den einen war er zu klassizistisch, andere hielten seine Musik für unzugänglich und zu intellektuell. Vor 100 Jahren ist er gestorben.   Struck-Schloen, Michael www.deutschlandfunk.de, Kalenderblatt

Kritiker rühmen Ferruccio Busonis Virtuosität: "Es gibt gute Pianisten und es gibt große Pianisten. Und es gibt Busoni." Doch der Klassik ist der Komponist und Dirigent zu modern, der Moderne zu klassisch. Von Michael Struck-Schloen.

Ferruccio Busoni - Flute DivertimentoLaura Minguzzi, fluteRome Symphony OrchestraFrancesco La Vecchia, conductorMore info about today's track: Naxos 8.572922Courtesy of Naxos of America Inc.SubscribeYou can subscribe to this podcast in Apple Podcasts, or by using the Daily Download podcast RSS feed.Purchase this recordingAmazon

durée : 02:04:23 - Musique matin du vendredi 19 janvier 2024 - par : Jean-Baptiste Urbain - Pianiste et pédagogue franco-américain, David Lively oscille entre pièces contemporaines américaines et œuvres classiques françaises. Après un disque récent consacré à Francis Poulenc, il défend aux Invalides la semaine prochaine le méconnu concerto de Ferruccio Busoni - le plus long du répertoire ! - réalisé par : Yassine Bouzar

Das Jahr 2024 ist vollgepackt mit musikalischen Jubiläen: runde Geburtstage von Anton Bruckner, Luigi Nono und Bedřich Smetana und Todestage von Giacomo Puccini, Gabriel Fauré und Ferruccio Busoni – und das ist nur die Spitze des Eisberges. Gerade Konzertveranstalter und Rundfunksendungen müssen in solchen Fällen einen neuen Blick auf das vermeintlich Alte und Bekannte wagen, findet Albrecht Selge.

Ferruccio Busoni (1866 - 1924) - Piano Concerto in Do maggiore, Op. 39 (1903-1904) Prologo e Introito: Allegro, dolce e solenne Pezzo giocoso Pezzo serioso: Introductio: Andante sostenuto        ·     Prima pars: Andante, quasi adagio       ·     Altera pars: Sommessamente       ·     Ultima pars: a tempo5. All'Italiana: Tarantella: Vivace; In un tempo6. Cantico: Largamente (con coro)Marc-André Hamelin, pianoforteLahden Kaupunginorkesteri Osmo Vänskä, direttore

SynopsisOn today's date in 1962, the Symphony No. 5 for strings, by the German-born American composer Gene Gutchë, received its premiere performance at Chatauqua, New York.Romeo Maximilian Eugene Ludwig Gutchë was born in Berlin in 1907. His father, a well-to-do European businessman, was not amused by the notion of his son “wasting” his time on music, even though the famous Berlin-based composer-pianist Ferruccio Busoni confirmed the young man's talent. So “Gene” Gutchë ran away from home, abandoning any hope of a sizeable inheritance in the process, and came to America. He studied at the Universities of Minnesota and Iowa, and, in 1950, at age 43, produced his first symphony. Gutchë would go on to compose six symphonies in all, plus an hour-long symphonic work for chorus and orchestra titled “Akhenaten,” premiered by Leonard Slatkin and the St. Louis Symphony in 1983. For most of his life, despite fellowships and commissions, Gutchë lived modestly with his wife, Marion, in a cottage in White Bear Lake, Minnesota.Gutchë died in the fall of 2001—one year after this Cincinnati Symphony recording of his Fifth Symphony was reissued on compact disc. Music Played in Today's ProgramGene Gutchë (1907 - 2001) Symphony No. 5, Op. 34 Cincinnati Symphony; Max Rudolf, conductor. CRI 825

Ferruccio Busoni adalah seorang komposer, pianis, konduktor, dan guru musik Italia yang memainkan peran penting dalam perkembangan musik abad ke-20. Ia juga tertarik pada hubungan antara arsitektur, ruang, dan musik, dan ia menggunakan prinsip-prinsip arsitektural dalam mengatur struktur musiknya. Selain itu, ia memanipulasi elemen-elemen musik untuk menciptakan perasaan ruang dan menghadirkan pengalaman pendengar yang lebih kaya.

从教授与古典乐的关系切入，重新进入教授的音乐人生。包含曲目：0:45 - Piano Concerto No. 23, K. 488 - II. Adagio / Vladimir Horowitz6:42 - Merry Christmas Mr. Lawrence / 坂本龙一 14:06 - Koko / 坂本龙一 18:38 - String Quartet in G minor, Op.10 - III. Andantino, doucement expressif / Quatuor Hermès31:44 - The Last Emperor (Main Title Theme) / David Byrne38:05 - The Sheltering Sky Theme / 坂本龙一45:58 - andata / 坂本龙一 55:14- Harmonies poétiques et religieuses, S. 173: V. Pater noster / Herbert Schuch另附——坂本龙一的葬礼歌单：1. Piano Concerto No. 23 in A Major, K. 488: Il. AdagioWolfgang Amadeus Mozart, Vladimir Horowitz, Orchestra Del Teatro Alla Scala, Milano, Carlo Maria Giulini2. Adagio in B Minor for Piano, K. 540Wolfgang Amadeus Mozart, Ingrid Haebler3. Sonata in F Minor, K. 466 (L. 118)Domenico Scarlatti, Vladimir Horowitz4. Sonata in F minor, K 481 (L 187)Domenico Scarlatti, Vladimir Horowitz5. Sonata in B Minor, K.87Domenico Scarlatti, Vladimir Horowitz6. Nun komm, der Heiden Heiland, BWV. 659 (Transcr. by Ferruccio Busoni for Piano)Johann Sebastian Bach, Vladimir Horowitz7. Choral "Ich ruf zu Dir, Herr Jesu Christ"', BWV 639Johann Sebastian Bach, Simone Dinnerstein8. Gaspard de la nuit, M. 55: II. Le gibet Maurice Ravel, Herbert Schuch9. Sonata 1.X.1905, JW VIII/19: II. Smrt (Death)Leos Janácek, Herbert Schuch10. Harmonies poétiques et religieuses, S. 173: V. Pater nosterFranz Liszt, Herbert Schuch11. Harmonies poétiques et religieuses, S. 173: III. Bénédiction de Dieu dans la solitudeFranz Liszt, Herbert Schuch12. Adagio in B Minor, K. 540Wolfgang Amadeus Mozart, Vladimir Horowitz

上一期咱们聊到十九世纪音乐自由市场的形成，音乐家们开始了自己独立的职业生涯。那么既然是面向公众，就自然有成为经典的需要。音乐史发展到这一步，音乐评论和乐评人角色终于初次登上了历史舞台。伴随着经典的诞生，音乐学院也随之兴起。一切的一切，都开始有了今天音乐行业的雏形了。包含曲目：0:26- Symphony No. 9 in C, D.944 - "The Great" - 1. Andante - Allegro ma non troppo (C大调第9号交响曲，作品944“伟大” - 第一乐章 行板 - 不过分的快板)14:28- Partita No. 2 in D Minor, BWV 1004: V. Chaconne (Transcribed by Ferruccio Busoni)25:50- Piano Concerto No. 2 in B-Flat Major, Op. 83 - Andante (Live at Grosser Saal, Musikverein, Vienna / 1984)

This week's episode celebrates Halloween while at the same time initiating my new ongoing series on Twentieth Century Opera. From Dvořák's Rusalka, premiered in Prague in 1901, through Corigliano's The Ghosts of Versailles, premiered in New York in 1991, there is a wealth of operatic material, some barely remembered today, that touches upon various aspects of the occult, be that witches, devils, exorcisms, demonic possessions, or those that conjure the dead. Alongside the aforementioned works, this episode also features work by Benjamin Britten, Gian Carlo Menotti, Igor Stravinsky, Ferruccio Busoni, Franz Schreker, Serge Prokofiev, Ottorino Respighi, and Krzysztof Penderecki, performed by Teresa Stratas. Tatiana Troyanos, George Shirley, Anna Moffo, Mack Harrell, Maralin Niska, Gwendolyn Killebrew, Jane Rhodes, and others in performances recorded between 1949 and… nearly yesterday. Some of it is folksy, some humorous, some creepy, some horrific, but it is peopled by characters that either haunt or are haunted. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly support at whatever level you can afford. Bonus episodes available exclusively to Patreon supporters are currently available and further bonus content including interviews and livestreams is planned for the upcoming season.    

Concerto para Piano em Dó Maior de Ferruccio Busoni, de 1904 ,com mais de setenta minutos, pode ser o concerto mais longo já escrito para qualquer instrumento. Também pode ser o mais desafiador. O concerto de Busoni é composto por cinco grandes movimentos, como três lagos majestosos ligados por dois rios caudalosos. Nenhum deles se encaixa em nenhum dos movimentos padrões. O tema é do padrinho Thiago Gonçalves, que levou o sorteio! Conversa de Câmara é apresentado por Aroldo Glomb com Eduardo Masses na bancada! Estamos também no programa Antigas Novidades! ESSE PROGRAMA É PRODUZIDO POR NA PAUTA PODCAST! FAÇA PARTE DO CONVERSA DE CÂMARA COM O NOSSO PADRIM! Então entre na conversa! No Padrin.com.br você pode ajudar o Conversa de Câmara a crescer e seguir divulgando ainda mais a boa música da humanidade. Mostre que você tem um gosto refinado apoiando a gente no Padrim.com.br https://www.padrim.com.br/conversadecamara RELAÇÃO DE PADRINS Karollina Coimbra, Aarão Barreto, Gustavo Klein, Eduardo Barreto, Ediney Giordani, Tramujas Jr, Brasa de Andrade Neto, Thiago Gonçalves e Aldo França

Ferruccio Busoni - Prelude No. 7 Wolf Harden, piano More info about today's track: Naxos 8.572845 Courtesy of Naxos of America, Inc. Subscribe You can subscribe to this podcast in Apple Podcasts, or by using the Daily Download podcast RSS feed. Purchase this recording Amazon

At more than 70 minutes, Ferruccio Busoni's wildly inventive Piano Concerto stands as a holy grail of the repertoire – a tour-de-force of virtuousity and stamina that has rarely been set down on disc. With his latest album, powerhouse pianist Kirill Gerstein adds to the collection his own formidable interpretation, which has been years in the making. Kirill joins us for a conversation about the work, and his long-time fascination with Busoni's music.

๏ Épisode 34 ๏ Connaissez-vous le point commun entre la Chaconne de Jean-Sébastien Bach et Hit the Road Jack de Ray Charles ? C'est à cette question un peu étrange que répond Max Dozolme dans ce podcast pour nous permettre de cerner les éléments du succès de ces partitions. Et qui dit succès, dit reprise ! La Chaconne de Bach, en plus d'être un monument du répertoire des violonistes, est un chef-d'œuvre pour piano dans sa transcription réalisée par l'italien Ferruccio Busoni. Dans cette version jouée en concert L'AO, cette musique majestueuse et intemporelle vous séduira à coup sûr ! ▂

Daniil Trifonov – Bach: The Art of Life (DG) Jump to giveaway form “I think with Bach it's much easier to practice for many hours than with some other composers,“ said Russian pianist Daniil Trifonov, who has always wanted to spend more time with Bach. “It's so harmonious and everything makes sense, even the most complex polyphony still makes sense.” On his new recording, Bach: The Art of Life, Trifonov explores the scientific, emotional and spiritual dimensions of the composer. The album is centered around Bach's late mystical masterpiece, The Art of Fugue. How does The Art of Fugue reflect on Bach's life? “There are so many gravitational points to that piece. There is also so much emotion in this music. It is very interesting how Bach has this certain way of expressing humanity.” What makes Bach's Chaconne in D, transcribed by Brahms and written in response to the death of his first wife, Maria Barbara, special? “There are two famous transcriptions for this piece, one by Ferruccio Busoni and the other by Johannes Brahms. I especially like Brahms' transcription because it is close to the original. He only uses the left hand and because he does that it feels as if it's a violinist's left hand. The violin has to reach for intervals and it's like that reaching for intervals was present in Brahms' piano transcription.” Did you find anything surprising while working on this album? “We still don't know if all the works attributed to Bach are really composed by him or by other composers. Some of these discoveries were fairly recent. Bist du bei mir, which is last in the song cycle, was for many years thought to be by Bach. In the early 2000s, while cataloging the music of Gottfried Heinrich Stölzel, they discovered five or six ideas from his opera that Bach must have borrowed. It's surprising that Bach would include this piece in a cycle dedicated to his wife.” Was it intentional on your part to try to show Bach as an ordinary person? “Actually, I've had a very interesting discussion with one of the people who run the Bach Museum in Leipzig. They recently discovered some of Bach's financial papers. It turns out that Bach owned stakes in a coal mine in West Germany. He was a human being and I think that only makes him a more remarkable composer.” Watch now To hear the rest of my conversation, click on the extended interview above, or download the extended podcast on iTunes or wherever you get your podcasts. Giveaway You must be 13 or older to submit any information to American Public Media/Minnesota Public Radio. The personally identifying information you provide will not be sold, shared, or used for purposes other than to communicate with you about things like our programs, products and services. See Terms of Use and Privacy. This giveaway is subject to the Official Giveaway Rules. Resources Daniil Trifonov – Bach: The Art of Life (Amazon) Daniil Trifonov – Bach: The Art of Life (DG Store) Daniil Trifonov (official site)

All about K-culture. Let's dive into the latest culture and entertainment news in Korea. 1. K-pop Evolution traces the rise of K-pop to global prominence. As foreign interest in K-pop has exploded, Korean pop music has become internationally competitive. 2. South Korean pianists have won the first and second prizes at the 63rd Ferruccio Busoni International Piano Competition, a globally renowned piano competition in Italy. It is known for rarely giving out the first prize, with only six top winners since 2001. 3. The 'DokeV', which was unveiled at Europe's largest game festival, melts Korean sensibility into the western landscape and expands the K-game horizon in the global village. DokeV differs from the others in that it takes inspiration from Korean folklore. 4. K-pop sensation BTS has entered the Guinness World Records' 2022 Hall of Fame after setting 23 records in music and social media.

We mark the birth on August 23, 1854 – 167 years ago today – of the German-Polish composer, pianist, and teacher Moritz Moszkowski in the Prussian/Silesian city of Breslau, today the Polish city of Wrocław. He died in Paris on March 4, 1925, at the age of 70. Moszkowski was one of the most famous pianist-composers of his time, someone who stood shoulder-to-shoulder with the likes of Franz Liszt (1811-1886), Anton Rubinstein (1829-1894), Ferruccio Busoni (1866-1924), Sergei Rachmaninoff (1873-1943), and Ignacy Jan Paderewski (1860-1941) Paderewski paid his friend and fellow Pole Moszkowski the ultimate compliment when he said that:  “After Chopin [who was, and remains, the great Polish national hero] Moszkowski best understands how to write for the piano, and his writing embraces the whole gamut of piano technique.” In the end – painfully, tragically, inevitably (or so it so often seems) – talent, success, and fame were no match for time, aging, and illness, and died in obscurity and poverty, a broken man. Sadly and unjustly, he and his music languish in near-total obscurity today.… Continue reading, only on Patreon! Listen on the Music History Monday Podcast The post Music History Monday: Moritz Moszkowski first appeared on Robert Greenberg.

*Corrected Link!* What ever ARE key signatures? Busoni didn't care- find out why in this week's episode. Be sure to like and share with a friend! Music: https://imslp.org/wiki/Elegien%2C_BV_249_(Busoni%2C_Ferruccio) https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode

Il 27 luglio 1924 muore a Berlino Ferruccio Busoni, Carla di Lena lo racconta a WikiMusic

Vor allem Franz Liszt und Ferruccio Busoni haben Werke Johann Sebastian Bachs bearbeitet und zu brillanten Bravourstücken für Virtuosen gemacht. Der französische Pianist Emmanuel Despax zeigt sich auf seiner neuen CD mit Bach-Bearbeitungen als pianistischer Alleskönner - und überrascht mit bislang unbekannten Neuentdeckungen.

Ferruccio Busoni gehörte um die vorletzte Jahrhundertwende drei Jahrzehnte lang zu den prägenden Figuren des Berliner Musiklebens. 1894 hatte er sich in der Stadt niedergelassen und wirkte hier und von hier als umtriebiger Komponist, Pianist, Dirigent, Essayist, Pädagoge und Musiktheoretiker der anbrechenden Moderne. Nach einigen Jahren des erzwungenen Schweizer Exils während des Weltkriegs kehrte er nach dessen Ende in seine Wohnung am Viktoria-Luise-Platz zurück und befasste sich hier in seinen letzten Lebensjahren insbesondere mit Ideen zu einer Erneuerung des Musiktheaters. Im Mai 1921 kamen in der Staatsoper Unter den Linden erstmals seine in Zürich entstandenen Opern Turandot und Arlecchino auf die Bühne. Die Berliner Volks-Zeitung war bei dieser Berliner Erstaufführung dabei und zeigte sich in ihrer Ausgabe vom 20.5. bei allem Respekt für die Person Busonis doch ein wenig skeptisch gegenüber dem von ihm hier zur künstlerischen Anschauung gebrachten ästhetischen Reformprogramm. Es liest Frank Riede.

Music lovers are familiar with Ferruccio Busoni due to his extensive revisions of Johann Sebastian Bach's keyboard works, but the Italian's own compositions have long been reserved for the pleasure of a handful of connoisseurs. Looking at their technical scope, it is not difficult to see why: Busoni, a true-blue composer in the original sense of the word, possesses an original, eclectic style that is difficult to categorize. Pianist-performer Svetlana Belsky, who first discovered her love for the musical creator during her doctoral studies, thus insightfully avoids any attempt at stylistic classification, but rather interprets each and every piece with great respect to the particular work's inherent nature. Purchase the music (without talk) at: http://www.classicalsavings.com/store/p892/Ferruccio_Busoni%3A_The_Late_Works.html Your purchase helps to support our show! Classical Music Discoveries is sponsored by La Musica International Chamber Music Festival and Uber. @khedgecock #ClassicalMusicDiscoveries #KeepClassicalMusicAlive #LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans #CMDGermanOperaCompanyofBerlin #CMDGrandOperaCompanyofBarcelonaSpain #ClassicalMusicLivesOn #Uber Please consider supporting our show, thank you! http://www.classicalsavings.com/donate.html staff@classicalmusicdiscoveries.com

durée : 01:58:05 - En pistes ! du vendredi 22 janvier 2021 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Au programme aujourd'hui : les enregistrements Debussy, Ravel et Mozart du pianiste Walter Gieseking ; deux œuvres de Richard Strauss composées d'après François Couperin ; les pièces pour viole du britannique William Young et la musique pour deux pianos de Ferruccio Busoni... - réalisé par : Emmanuel Benito

Born in Toronto, Canada in 1873, Maud Allan (born Ulah Maud Allan Durrant) would go on to have an important career as a dancer, having initially begun her artistic career as a pianist. In the late 1870s, the Durrant family moved to San Francisco when, by the mid-1890s, at the recommendation of her music teacher, Prof. Eugene Bonelli at the San Francisco Conservatory of Music, Allan went to Germany to study music in Berlin. She also travelled to Weimar, where she was a student of pianist, Ferruccio Busoni. While in Germany – a period which saw the hanging of her beloved brother, Theo, for the murder of two young women – Allan began to shift her interest from the piano to dance, focusing primarily on the dances of Ancient Greece. The creative and original Allan took great delight in researching and designing her costumes, many of which she herself sewed. Allan, a lifelong solo dancer, did not consider her unique manner of movement to have much to do with dance, rather, her routines were known as “musically impressionistic mood settings.” The tall, athletic Allan had no formal dance training and had disliked having been compared to Isadora Duncan, another barefoot dancer. Following her first dance performances in Vienna in 1903, Allan travelled throughout Europe, dancing before countless people of distinction. The list of individuals with whom Allan had some level of acquaintance and for which she mentions in her book, includes Sarah Bernhardt, Johannes Brahms, Ferruccio Busoni, François Delsarte, the Earl and Countess of Dudley, Yvette Guilbert, Joseph Joachim, King Edward VII, Princess Eugènie Murat, Marcel Remy, Franz Stuck, Eugène Ysaÿe and many others. Having danced to the music of composers such as Bach, Brahms, Chopin, Rubinstein, Schubert, Tchaikovsky and others, Allan is best remembered for her dances of Salomé, the origins of which are described in her book and for whom Marcel Remy composed the music. The controversial dance was sought after by audiences worldwide, bringing rise to “Salomania.” Allan also played the lead role in a private performance of Oscar Wilde’s play, Salome, which was still banned from public performance in England. A resulting lawsuit initiated by an ultra-right-wing Conservative MP, brought scandal to Allan’s career. Nevertheless, Allan continued dancing and also began acting. During the Second World War, she settled in Los Angeles, working as a draughtswoman at Macdonald Aircraft. Having once enjoyed considerable fortune, she died forgotten and a pauper, in 1956, at the age of eighty-three. Most refreshing in her book, My Life and Dancing, published in 1908, is the author’s imagination, particularly in the form of fairies and “Fairyland” and she held particular affection for nature, books, museums, galleries, artistic freedom and even her beloved dollies. In her memoir, Allan also speaks of her fond memories of winters in Canada and of her views on the importance of the education of women. According to the Maud Allan archives at the Dance Collection in Toronto: “While she did operate her own dance school briefly in London in the 1940s, she did not mentor any dancers who could continue to perform her very personal choreographic aesthetic and thus her dance works are lost.” Numerous artifacts of Maud Allan ephemerae can be found at the Dance Collection. ---------- PayPal.me/pennypiano Support for this podcast is greatly appreciated!

Born in Toronto, Canada in 1873, Maud Allan (born Ulah Maud Allan Durrant) would go on to have an important career as a dancer, having initially begun her artistic career as a pianist. In the late 1870s, the Durrant family moved to San Francisco when, by the mid-1890s, at the recommendation of her music teacher, Prof. Eugene Bonelli at the San Francisco Conservatory of Music, Allan went to Germany to study music in Berlin. She also travelled to Weimar, where she was a student of pianist, Ferruccio Busoni. While in Germany – a period which saw the hanging of her beloved brother, Theo, for the murder of two young women – Allan began to shift her interest from the piano to dance, focusing primarily on the dances of Ancient Greece. The creative and original Allan took great delight in researching and designing her costumes, many of which she herself sewed. Allan, a lifelong solo dancer, did not consider her unique manner of movement to have much to do with dance, rather, her routines were known as “musically impressionistic mood settings.” The tall, athletic Allan had no formal dance training and had disliked having been compared to Isadora Duncan, another barefoot dancer. Following her first dance performances in Vienna in 1903, Allan travelled throughout Europe, dancing before countless people of distinction. The list of individuals with whom Allan had some level of acquaintance and for which she mentions in her book, includes Sarah Bernhardt, Johannes Brahms, Ferruccio Busoni, François Delsarte, the Earl and Countess of Dudley, Yvette Guilbert, Joseph Joachim, King Edward VII, Princess Eugènie Murat, Marcel Remy, Franz Stuck, Eugène Ysaÿe and many others. Having danced to the music of composers such as Bach, Brahms, Chopin, Rubinstein, Schubert, Tchaikovsky and others, Allan is best remembered for her dances of Salomé, the origins of which are described in her book and for whom Marcel Remy composed the music. The controversial dance was sought after by audiences worldwide, bringing rise to “Salomania.” Allan also played the lead role in a private performance of Oscar Wilde’s play, Salome, which was still banned from public performance in England. A resulting lawsuit initiated by an ultra-right-wing Conservative MP, brought scandal to Allan’s career. Nevertheless, Allan continued dancing and also began acting. During the Second World War, she settled in Los Angeles, working as a draughtswoman at Macdonald Aircraft. Having once enjoyed considerable fortune, she died forgotten and a pauper, in 1956, at the age of eighty-three. Most refreshing in her book, My Life and Dancing, published in 1908, is the author’s imagination, particularly in the form of fairies and “Fairyland” and she held particular affection for nature, books, museums, galleries, artistic freedom and even her beloved dollies. In her memoir, Allan also speaks of her fond memories of winters in Canada and of her views on the importance of the education of women. According to the Maud Allan archives at the Dance Collection in Toronto: “While she did operate her own dance school briefly in London in the 1940s, she did not mentor any dancers who could continue to perform her very personal choreographic aesthetic and thus her dance works are lost.” Numerous artifacts of Maud Allan ephemerae can be found at the Dance Collection. ---------- PayPal.me/pennypiano Support for this podcast is greatly appreciated!

Born in Toronto, Canada in 1873, Maud Allan (born Ulah Maud Allan Durrant) would go on to have an important career as a dancer, having initially begun her artistic career as a pianist. In the late 1870s, the Durrant family moved to San Francisco when, by the mid-1890s, at the recommendation of her music teacher, Prof. Eugene Bonelli at the San Francisco Conservatory of Music, Allan went to Germany to study music in Berlin. She also travelled to Weimar, where she was a student of pianist, Ferruccio Busoni. While in Germany – a period which saw the hanging of her beloved brother, Theo, for the murder of two young women – Allan began to shift her interest from the piano to dance, focusing primarily on the dances of Ancient Greece. The creative and original Allan took great delight in researching and designing her costumes, many of which she herself sewed. Allan, a lifelong solo dancer, did not consider her unique manner of movement to have much to do with dance, rather, her routines were known as “musically impressionistic mood settings.” The tall, athletic Allan had no formal dance training and had disliked having been compared to Isadora Duncan, another barefoot dancer. Following her first dance performances in Vienna in 1903, Allan travelled throughout Europe, dancing before countless people of distinction. The list of individuals with whom Allan had some level of acquaintance and for which she mentions in her book, includes Sarah Bernhardt, Johannes Brahms, Ferruccio Busoni, François Delsarte, the Earl and Countess of Dudley, Yvette Guilbert, Joseph Joachim, King Edward VII, Princess Eugènie Murat, Marcel Remy, Franz Stuck, Eugène Ysaÿe and many others. Having danced to the music of composers such as Bach, Brahms, Chopin, Rubinstein, Schubert, Tchaikovsky and others, Allan is best remembered for her dances of Salomé, the origins of which are described in her book and for whom Marcel Remy composed the music. The controversial dance was sought after by audiences worldwide, bringing rise to “Salomania.” Allan also played the lead role in a private performance of Oscar Wilde’s play, Salome, which was still banned from public performance in England. A resulting lawsuit initiated by an ultra-right-wing Conservative MP, brought scandal to Allan’s career. Nevertheless, Allan continued dancing and also began acting. During the Second World War, she settled in Los Angeles, working as a draughtswoman at Macdonald Aircraft. Having once enjoyed considerable fortune, she died forgotten and a pauper, in 1956, at the age of eighty-three. Most refreshing in her book, My Life and Dancing, published in 1908, is the author’s imagination, particularly in the form of fairies and “Fairyland” and she held particular affection for nature, books, museums, galleries, artistic freedom and even her beloved dollies. In her memoir, Allan also speaks of her fond memories of winters in Canada and of her views on the importance of the education of women. According to the Maud Allan archives at the Dance Collection in Toronto: “While she did operate her own dance school briefly in London in the 1940s, she did not mentor any dancers who could continue to perform her very personal choreographic aesthetic and thus her dance works are lost.” Numerous artifacts of Maud Allan ephemerae can be found at the Dance Collection. ---------- PayPal.me/pennypiano Support for this podcast is greatly appreciated!

Born in Toronto, Canada in 1873, Maud Allan (born Ulah Maud Allan Durrant) would go on to have an important career as a dancer, having initially begun her artistic career as a pianist. In the late 1870s, the Durrant family moved to San Francisco when, by the mid-1890s, at the recommendation of her music teacher, Prof. Eugene Bonelli at the San Francisco Conservatory of Music, Allan went to Germany to study music in Berlin. She also travelled to Weimar, where she was a student of pianist, Ferruccio Busoni. While in Germany – a period which saw the hanging of her beloved brother, Theo, for the murder of two young women – Allan began to shift her interest from the piano to dance, focusing primarily on the dances of Ancient Greece. The creative and original Allan took great delight in researching and designing her costumes, many of which she herself sewed. Allan, a lifelong solo dancer, did not consider her unique manner of movement to have much to do with dance, rather, her routines were known as “musically impressionistic mood settings.” The tall, athletic Allan had no formal dance training and had disliked having been compared to Isadora Duncan, another barefoot dancer. Following her first dance performances in Vienna in 1903, Allan travelled throughout Europe, dancing before countless people of distinction. The list of individuals with whom Allan had some level of acquaintance and for which she mentions in her book, includes Sarah Bernhardt, Johannes Brahms, Ferruccio Busoni, François Delsarte, the Earl and Countess of Dudley, Yvette Guilbert, Joseph Joachim, King Edward VII, Princess Eugènie Murat, Marcel Remy, Franz Stuck, Eugène Ysaÿe and many others. Having danced to the music of composers such as Bach, Brahms, Chopin, Rubinstein, Schubert, Tchaikovsky and others, Allan is best remembered for her dances of Salomé, the origins of which are described in her book and for whom Marcel Remy composed the music. The controversial dance was sought after by audiences worldwide, bringing rise to “Salomania.” Allan also played the lead role in a private performance of Oscar Wilde’s play, Salome, which was still banned from public performance in England. A resulting lawsuit initiated by an ultra-right-wing Conservative MP, brought scandal to Allan’s career. Nevertheless, Allan continued dancing and also began acting. During the Second World War, she settled in Los Angeles, working as a draughtswoman at Macdonald Aircraft. Having once enjoyed considerable fortune, she died forgotten and a pauper, in 1956, at the age of eighty-three. Most refreshing in her book, My Life and Dancing, published in 1908, is the author’s imagination, particularly in the form of fairies and “Fairyland” and she held particular affection for nature, books, museums, galleries, artistic freedom and even her beloved dollies. In her memoir, Allan also speaks of her fond memories of winters in Canada and of her views on the importance of the education of women. According to the Maud Allan archives at the Dance Collection in Toronto: “While she did operate her own dance school briefly in London in the 1940s, she did not mentor any dancers who could continue to perform her very personal choreographic aesthetic and thus her dance works are lost.” Numerous artifacts of Maud Allan ephemerae can be found at the Dance Collection. ---------- PayPal.me/pennypiano Support for this podcast is greatly appreciated!

Born in Toronto, Canada in 1873, Maud Allan (born Ulah Maud Allan Durrant) would go on to have an important career as a dancer, having initially begun her artistic career as a pianist. In the late 1870s, the Durrant family moved to San Francisco when, by the mid-1890s, at the recommendation of her music teacher, Prof. Eugene Bonelli at the San Francisco Conservatory of Music, Allan went to Germany to study music in Berlin. She also travelled to Weimar, where she was a student of pianist, Ferruccio Busoni. While in Germany – a period which saw the hanging of her beloved brother, Theo, for the murder of two young women – Allan began to shift her interest from the piano to dance, focusing primarily on the dances of Ancient Greece. The creative and original Allan took great delight in researching and designing her costumes, many of which she herself sewed. Allan, a lifelong solo dancer, did not consider her unique manner of movement to have much to do with dance, rather, her routines were known as “musically impressionistic mood settings.” The tall, athletic Allan had no formal dance training and had disliked having been compared to Isadora Duncan, another barefoot dancer. Following her first dance performances in Vienna in 1903, Allan travelled throughout Europe, dancing before countless people of distinction. The list of individuals with whom Allan had some level of acquaintance and for which she mentions in her book, includes Sarah Bernhardt, Johannes Brahms, Ferruccio Busoni, François Delsarte, the Earl and Countess of Dudley, Yvette Guilbert, Joseph Joachim, King Edward VII, Princess Eugènie Murat, Marcel Remy, Franz Stuck, Eugène Ysaÿe and many others. Having danced to the music of composers such as Bach, Brahms, Chopin, Rubinstein, Schubert, Tchaikovsky and others, Allan is best remembered for her dances of Salomé, the origins of which are described in her book and for whom Marcel Remy composed the music. The controversial dance was sought after by audiences worldwide, bringing rise to “Salomania.” Allan also played the lead role in a private performance of Oscar Wilde’s play, Salome, which was still banned from public performance in England. A resulting lawsuit initiated by an ultra-right-wing Conservative MP, brought scandal to Allan’s career. Nevertheless, Allan continued dancing and also began acting. During the Second World War, she settled in Los Angeles, working as a draughtswoman at Macdonald Aircraft. Having once enjoyed considerable fortune, she died forgotten and a pauper, in 1956, at the age of eighty-three. Most refreshing in her book, My Life and Dancing, published in 1908, is the author’s imagination, particularly in the form of fairies and “Fairyland” and she held particular affection for nature, books, museums, galleries, artistic freedom and even her beloved dollies. In her memoir, Allan also speaks of her fond memories of winters in Canada and of her views on the importance of the education of women. According to the Maud Allan archives at the Dance Collection in Toronto: “While she did operate her own dance school briefly in London in the 1940s, she did not mentor any dancers who could continue to perform her very personal choreographic aesthetic and thus her dance works are lost.” Numerous artifacts of Maud Allan ephemerae can be found at the Dance Collection. ---------- PayPal.me/pennypiano Support for this podcast is greatly appreciated!

Born in Toronto, Canada in 1873, Maud Allan (born Ulah Maud Allan Durrant) would go on to have an important career as a dancer, having initially begun her artistic career as a pianist. In the late 1870s, the Durrant family moved to San Francisco when, by the mid-1890s, at the recommendation of her music teacher, Prof. Eugene Bonelli at the San Francisco Conservatory of Music, Allan went to Germany to study music in Berlin. She also travelled to Weimar, where she was a student of pianist, Ferruccio Busoni. While in Germany – a period which saw the hanging of her beloved brother, Theo, for the murder of two young women – Allan began to shift her interest from the piano to dance, focusing primarily on the dances of Ancient Greece. The creative and original Allan took great delight in researching and designing her costumes, many of which she herself sewed. Allan, a lifelong solo dancer, did not consider her unique manner of movement to have much to do with dance, rather, her routines were known as “musically impressionistic mood settings.” The tall, athletic Allan had no formal dance training and had disliked having been compared to Isadora Duncan, another barefoot dancer. Following her first dance performances in Vienna in 1903, Allan travelled throughout Europe, dancing before countless people of distinction. The list of individuals with whom Allan had some level of acquaintance and for which she mentions in her book, includes Sarah Bernhardt, Johannes Brahms, Ferruccio Busoni, François Delsarte, the Earl and Countess of Dudley, Yvette Guilbert, Joseph Joachim, King Edward VII, Princess Eugènie Murat, Marcel Remy, Franz Stuck, Eugène Ysaÿe and many others. Having danced to the music of composers such as Bach, Brahms, Chopin, Rubinstein, Schubert, Tchaikovsky and others, Allan is best remembered for her dances of Salomé, the origins of which are described in her book and for whom Marcel Remy composed the music. The controversial dance was sought after by audiences worldwide, bringing rise to “Salomania.” Allan also played the lead role in a private performance of Oscar Wilde’s play, Salome, which was still banned from public performance in England. A resulting lawsuit initiated by an ultra-right-wing Conservative MP, brought scandal to Allan’s career. Nevertheless, Allan continued dancing and also began acting. During the Second World War, she settled in Los Angeles, working as a draughtswoman at Macdonald Aircraft. Having once enjoyed considerable fortune, she died forgotten and a pauper, in 1956, at the age of eighty-three. Most refreshing in her book, My Life and Dancing, published in 1908, is the author’s imagination, particularly in the form of fairies and “Fairyland” and she held particular affection for nature, books, museums, galleries, artistic freedom and even her beloved dollies. In her memoir, Allan also speaks of her fond memories of winters in Canada and of her views on the importance of the education of women. According to the Maud Allan archives at the Dance Collection in Toronto: “While she did operate her own dance school briefly in London in the 1940s, she did not mentor any dancers who could continue to perform her very personal choreographic aesthetic and thus her dance works are lost.” Numerous artifacts of Maud Allan ephemerae can be found at the Dance Collection. ---------- PayPal.me/pennypiano Support for this podcast is greatly appreciated!

Born in Toronto, Canada in 1873, Maud Allan (born Ulah Maud Allan Durrant) would go on to have an important career as a dancer, having initially begun her artistic career as a pianist. In the late 1870s, the Durrant family moved to San Francisco when, by the mid-1890s, at the recommendation of her music teacher, Prof. Eugene Bonelli at the San Francisco Conservatory of Music, Allan went to Germany to study music in Berlin. She also travelled to Weimar, where she was a student of pianist, Ferruccio Busoni. While in Germany – a period which saw the hanging of her beloved brother, Theo, for the murder of two young women – Allan began to shift her interest from the piano to dance, focusing primarily on the dances of Ancient Greece. The creative and original Allan took great delight in researching and designing her costumes, many of which she herself sewed. Allan, a lifelong solo dancer, did not consider her unique manner of movement to have much to do with dance, rather, her routines were known as “musically impressionistic mood settings.” The tall, athletic Allan had no formal dance training and had disliked having been compared to Isadora Duncan, another barefoot dancer. Following her first dance performances in Vienna in 1903, Allan travelled throughout Europe, dancing before countless people of distinction. The list of individuals with whom Allan had some level of acquaintance and for which she mentions in her book, includes Sarah Bernhardt, Johannes Brahms, Ferruccio Busoni, François Delsarte, the Earl and Countess of Dudley, Yvette Guilbert, Joseph Joachim, King Edward VII, Princess Eugènie Murat, Marcel Remy, Franz Stuck, Eugène Ysaÿe and many others. Having danced to the music of composers such as Bach, Brahms, Chopin, Rubinstein, Schubert, Tchaikovsky and others, Allan is best remembered for her dances of Salomé, the origins of which are described in her book and for whom Marcel Remy composed the music. The controversial dance was sought after by audiences worldwide, bringing rise to “Salomania.” Allan also played the lead role in a private performance of Oscar Wilde’s play, Salome, which was still banned from public performance in England. A resulting lawsuit initiated by an ultra-right-wing Conservative MP, brought scandal to Allan’s career. Nevertheless, Allan continued dancing and also began acting. During the Second World War, she settled in Los Angeles, working as a draughtswoman at Macdonald Aircraft. Having once enjoyed considerable fortune, she died forgotten and a pauper, in 1956, at the age of eighty-three. Most refreshing in her book, My Life and Dancing, published in 1908, is the author’s imagination, particularly in the form of fairies and “Fairyland” and she held particular affection for nature, books, museums, galleries, artistic freedom and even her beloved dollies. In her memoir, Allan also speaks of her fond memories of winters in Canada and of her views on the importance of the education of women. According to the Maud Allan archives at the Dance Collection in Toronto: “While she did operate her own dance school briefly in London in the 1940s, she did not mentor any dancers who could continue to perform her very personal choreographic aesthetic and thus her dance works are lost.” Numerous artifacts of Maud Allan ephemerae can be found at the Dance Collection. ---------- PayPal.me/pennypiano Support for this podcast is greatly appreciated!

Born in Toronto, Canada in 1873, Maud Allan (born Ulah Maud Allan Durrant) would go on to have an important career as a dancer, having initially begun her artistic career as a pianist. In the late 1870s, the Durrant family moved to San Francisco when, by the mid-1890s, at the recommendation of her music teacher, Prof. Eugene Bonelli at the San Francisco Conservatory of Music, Allan went to Germany to study music in Berlin. She also travelled to Weimar, where she was a student of pianist, Ferruccio Busoni. While in Germany – a period which saw the hanging of her beloved brother, Theo, for the murder of two young women – Allan began to shift her interest from the piano to dance, focusing primarily on the dances of Ancient Greece. The creative and original Allan took great delight in researching and designing her costumes, many of which she herself sewed. Allan, a lifelong solo dancer, did not consider her unique manner of movement to have much to do with dance, rather, her routines were known as “musically impressionistic mood settings.” The tall, athletic Allan had no formal dance training and had disliked having been compared to Isadora Duncan, another barefoot dancer. Following her first dance performances in Vienna in 1903, Allan travelled throughout Europe, dancing before countless people of distinction. The list of individuals with whom Allan had some level of acquaintance and for which she mentions in her book, includes Sarah Bernhardt, Johannes Brahms, Ferruccio Busoni, François Delsarte, the Earl and Countess of Dudley, Yvette Guilbert, Joseph Joachim, King Edward VII, Princess Eugènie Murat, Marcel Remy, Franz Stuck, Eugène Ysaÿe and many others. Having danced to the music of composers such as Bach, Brahms, Chopin, Rubinstein, Schubert, Tchaikovsky and others, Allan is best remembered for her dances of Salomé, the origins of which are described in her book and for whom Marcel Remy composed the music. The controversial dance was sought after by audiences worldwide, bringing rise to “Salomania.” Allan also played the lead role in a private performance of Oscar Wilde’s play, Salome, which was still banned from public performance in England. A resulting lawsuit initiated by an ultra-right-wing Conservative MP, brought scandal to Allan’s career. Nevertheless, Allan continued dancing and also began acting. During the Second World War, she settled in Los Angeles, working as a draughtswoman at Macdonald Aircraft. Having once enjoyed considerable fortune, she died forgotten and a pauper, in 1956, at the age of eighty-three. Most refreshing in her book, My Life and Dancing, published in 1908, is the author’s imagination, particularly in the form of fairies and “Fairyland” and she held particular affection for nature, books, museums, galleries, artistic freedom and even her beloved dollies. In her memoir, Allan also speaks of her fond memories of winters in Canada and of her views on the importance of the education of women. According to the Maud Allan archives at the Dance Collection in Toronto: “While she did operate her own dance school briefly in London in the 1940s, she did not mentor any dancers who could continue to perform her very personal choreographic aesthetic and thus her dance works are lost.” Numerous artifacts of Maud Allan ephemerae can be found at the Dance Collection. ---------- PayPal.me/pennypiano Support for this podcast is greatly appreciated!

Born in Toronto, Canada in 1873, Maud Allan (born Ulah Maud Allan Durrant) would go on to have an important career as a dancer, having initially begun her artistic career as a pianist. In the late 1870s, the Durrant family moved to San Francisco when, by the mid-1890s, at the recommendation of her music teacher, Prof. Eugene Bonelli at the San Francisco Conservatory of Music, Allan went to Germany to study music in Berlin. She also travelled to Weimar, where she was a student of pianist, Ferruccio Busoni. While in Germany – a period which saw the hanging of her beloved brother, Theo, for the murder of two young women – Allan began to shift her interest from the piano to dance, focusing primarily on the dances of Ancient Greece. The creative and original Allan took great delight in researching and designing her costumes, many of which she herself sewed. Allan, a lifelong solo dancer, did not consider her unique manner of movement to have much to do with dance, rather, her routines were known as “musically impressionistic mood settings.” The tall, athletic Allan had no formal dance training and had disliked having been compared to Isadora Duncan, another barefoot dancer. Following her first dance performances in Vienna in 1903, Allan travelled throughout Europe, dancing before countless people of distinction. The list of individuals with whom Allan had some level of acquaintance and for which she mentions in her book, includes Sarah Bernhardt, Johannes Brahms, Ferruccio Busoni, François Delsarte, the Earl and Countess of Dudley, Yvette Guilbert, Joseph Joachim, King Edward VII, Princess Eugènie Murat, Marcel Remy, Franz Stuck, Eugène Ysaÿe and many others. Having danced to the music of composers such as Bach, Brahms, Chopin, Rubinstein, Schubert, Tchaikovsky and others, Allan is best remembered for her dances of Salomé, the origins of which are described in her book and for whom Marcel Remy composed the music. The controversial dance was sought after by audiences worldwide, bringing rise to “Salomania.” Allan also played the lead role in a private performance of Oscar Wilde’s play, Salome, which was still banned from public performance in England. A resulting lawsuit initiated by an ultra-right-wing Conservative MP, brought scandal to Allan’s career. Nevertheless, Allan continued dancing and also began acting. During the Second World War, she settled in Los Angeles, working as a draughtswoman at Macdonald Aircraft. Having once enjoyed considerable fortune, she died forgotten and a pauper, in 1956, at the age of eighty-three. Most refreshing in her book, My Life and Dancing, published in 1908, is the author’s imagination, particularly in the form of fairies and “Fairyland” and she held particular affection for nature, books, museums, galleries, artistic freedom and even her beloved dollies. In her memoir, Allan also speaks of her fond memories of winters in Canada and of her views on the importance of the education of women. According to the Maud Allan archives at the Dance Collection in Toronto: “While she did operate her own dance school briefly in London in the 1940s, she did not mentor any dancers who could continue to perform her very personal choreographic aesthetic and thus her dance works are lost.” Numerous artifacts of Maud Allan ephemerae can be found at the Dance Collection. ---------- PayPal.me/pennypiano Support for this podcast is greatly appreciated!

Born in Toronto, Canada in 1873, Maud Allan (born Ulah Maud Allan Durrant) would go on to have an important career as a dancer, having initially begun her artistic career as a pianist. In the late 1870s, the Durrant family moved to San Francisco when, by the mid-1890s, at the recommendation of her music teacher, Prof. Eugene Bonelli at the San Francisco Conservatory of Music, Allan went to Germany to study music in Berlin. She also travelled to Weimar, where she was a student of pianist, Ferruccio Busoni. While in Germany – a period which saw the hanging of her beloved brother, Theo, for the murder of two young women – Allan began to shift her interest from the piano to dance, focusing primarily on the dances of Ancient Greece. The creative and original Allan took great delight in researching and designing her costumes, many of which she herself sewed. Allan, a lifelong solo dancer, did not consider her unique manner of movement to have much to do with dance, rather, her routines were known as “musically impressionistic mood settings.” The tall, athletic Allan had no formal dance training and had disliked having been compared to Isadora Duncan, another barefoot dancer. Following her first dance performances in Vienna in 1903, Allan travelled throughout Europe, dancing before countless people of distinction. The list of individuals with whom Allan had some level of acquaintance and for which she mentions in her book, includes Sarah Bernhardt, Johannes Brahms, Ferruccio Busoni, François Delsarte, the Earl and Countess of Dudley, Yvette Guilbert, Joseph Joachim, King Edward VII, Princess Eugènie Murat, Marcel Remy, Franz Stuck, Eugène Ysaÿe and many others. Having danced to the music of composers such as Bach, Brahms, Chopin, Rubinstein, Schubert, Tchaikovsky and others, Allan is best remembered for her dances of Salomé, the origins of which are described in her book and for whom Marcel Remy composed the music. The controversial dance was sought after by audiences worldwide, bringing rise to “Salomania.” Allan also played the lead role in a private performance of Oscar Wilde’s play, Salome, which was still banned from public performance in England. A resulting lawsuit initiated by an ultra-right-wing Conservative MP, brought scandal to Allan’s career. Nevertheless, Allan continued dancing and also began acting. During the Second World War, she settled in Los Angeles, working as a draughtswoman at Macdonald Aircraft. Having once enjoyed considerable fortune, she died forgotten and a pauper, in 1956, at the age of eighty-three. Most refreshing in her book, My Life and Dancing, published in 1908, is the author’s imagination, particularly in the form of fairies and “Fairyland” and she held particular affection for nature, books, museums, galleries, artistic freedom and even her beloved dollies. In her memoir, Allan also speaks of her fond memories of winters in Canada and of her views on the importance of the education of women. According to the Maud Allan archives at the Dance Collection in Toronto: “While she did operate her own dance school briefly in London in the 1940s, she did not mentor any dancers who could continue to perform her very personal choreographic aesthetic and thus her dance works are lost.” Numerous artifacts of Maud Allan ephemerae can be found at the Dance Collection. ---------- PayPal.me/pennypiano Support for this podcast is greatly appreciated!

Born in Toronto, Canada in 1873, Maud Allan (born Ulah Maud Allan Durrant) would go on to have an important career as a dancer, having initially begun her artistic career as a pianist. In the late 1870s, the Durrant family moved to San Francisco when, by the mid-1890s, at the recommendation of her music teacher, Prof. Eugene Bonelli at the San Francisco Conservatory of Music, Allan went to Germany to study music in Berlin. She also travelled to Weimar, where she was a student of pianist, Ferruccio Busoni. While in Germany – a period which saw the hanging of her beloved brother, Theo, for the murder of two young women – Allan began to shift her interest from the piano to dance, focusing primarily on the dances of Ancient Greece. The creative and original Allan took great delight in researching and designing her costumes, many of which she herself sewed. Allan, a lifelong solo dancer, did not consider her unique manner of movement to have much to do with dance, rather, her routines were known as “musically impressionistic mood settings.” The tall, athletic Allan had no formal dance training and had disliked having been compared to Isadora Duncan, another barefoot dancer. Following her first dance performances in Vienna in 1903, Allan travelled throughout Europe, dancing before countless people of distinction. The list of individuals with whom Allan had some level of acquaintance and for which she mentions in her book, includes Sarah Bernhardt, Johannes Brahms, Ferruccio Busoni, François Delsarte, the Earl and Countess of Dudley, Yvette Guilbert, Joseph Joachim, King Edward VII, Princess Eugènie Murat, Marcel Remy, Franz Stuck, Eugène Ysaÿe and many others. Having danced to the music of composers such as Bach, Brahms, Chopin, Rubinstein, Schubert, Tchaikovsky and others, Allan is best remembered for her dances of Salomé, the origins of which are described in her book and for whom Marcel Remy composed the music. The controversial dance was sought after by audiences worldwide, bringing rise to “Salomania.” Allan also played the lead role in a private performance of Oscar Wilde’s play, Salome, which was still banned from public performance in England. A resulting lawsuit initiated by an ultra-right-wing Conservative MP, brought scandal to Allan’s career. Nevertheless, Allan continued dancing and also began acting. During the Second World War, she settled in Los Angeles, working as a draughtswoman at Macdonald Aircraft. Having once enjoyed considerable fortune, she died forgotten and a pauper, in 1956, at the age of eighty-three. Most refreshing in her book, My Life and Dancing, published in 1908, is the author’s imagination, particularly in the form of fairies and “Fairyland” and she held particular affection for nature, books, museums, galleries, artistic freedom and even her beloved dollies. In her memoir, Allan also speaks of her fond memories of winters in Canada and of her views on the importance of the education of women. According to the Maud Allan archives at the Dance Collection in Toronto: “While she did operate her own dance school briefly in London in the 1940s, she did not mentor any dancers who could continue to perform her very personal choreographic aesthetic and thus her dance works are lost.” Numerous artifacts of Maud Allan ephemerae can be found at the Dance Collection. ---------- PayPal.me/pennypiano Support for this podcast is greatly appreciated!

Born in Toronto, Canada in 1873, Maud Allan (born Ulah Maud Allan Durrant) would go on to have an important career as a dancer, having initially begun her artistic career as a pianist. In the late 1870s, the Durrant family moved to San Francisco when, by the mid-1890s, at the recommendation of her music teacher, Prof. Eugene Bonelli at the San Francisco Conservatory of Music, Allan went to Germany to study music in Berlin. She also travelled to Weimar, where she was a student of pianist, Ferruccio Busoni. While in Germany – a period which saw the hanging of her beloved brother, Theo, for the murder of two young women – Allan began to shift her interest from the piano to dance, focusing primarily on the dances of Ancient Greece. The creative and original Allan took great delight in researching and designing her costumes, many of which she herself sewed. Allan, a lifelong solo dancer, did not consider her unique manner of movement to have much to do with dance, rather, her routines were known as “musically impressionistic mood settings.” The tall, athletic Allan had no formal dance training and had disliked having been compared to Isadora Duncan, another barefoot dancer. Following her first dance performances in Vienna in 1903, Allan travelled throughout Europe, dancing before countless people of distinction. The list of individuals with whom Allan had some level of acquaintance and for which she mentions in her book, includes Sarah Bernhardt, Johannes Brahms, Ferruccio Busoni, François Delsarte, the Earl and Countess of Dudley, Yvette Guilbert, Joseph Joachim, King Edward VII, Princess Eugènie Murat, Marcel Remy, Franz Stuck, Eugène Ysaÿe and many others. Having danced to the music of composers such as Bach, Brahms, Chopin, Rubinstein, Schubert, Tchaikovsky and others, Allan is best remembered for her dances of Salomé, the origins of which are described in her book and for whom Marcel Remy composed the music. The controversial dance was sought after by audiences worldwide, bringing rise to “Salomania.” Allan also played the lead role in a private performance of Oscar Wilde’s play, Salome, which was still banned from public performance in England. A resulting lawsuit initiated by an ultra-right-wing Conservative MP, brought scandal to Allan’s career. Nevertheless, Allan continued dancing and also began acting. During the Second World War, she settled in Los Angeles, working as a draughtswoman at Macdonald Aircraft. Having once enjoyed considerable fortune, she died forgotten and a pauper, in 1956, at the age of eighty-three. Most refreshing in her book, My Life and Dancing, published in 1908, is the author’s imagination, particularly in the form of fairies and “Fairyland” and she held particular affection for nature, books, museums, galleries, artistic freedom and even her beloved dollies. In her memoir, Allan also speaks of her fond memories of winters in Canada and of her views on the importance of the education of women. According to the Maud Allan archives at the Dance Collection in Toronto: “While she did operate her own dance school briefly in London in the 1940s, she did not mentor any dancers who could continue to perform her very personal choreographic aesthetic and thus her dance works are lost.” Numerous artifacts of Maud Allan ephemerae can be found at the Dance Collection. ---------- PayPal.me/pennypiano Support for this podcast is greatly appreciated!

Alle großen Internationalen Musikwettbewerbe mussten dieses Jahr wegen der Corona-Pandemie abgesagt oder verschoben werden. Doch der Klavierwettbewerb Ferruccio Busoni wollte nicht klein beigeben und versucht, in besonderen Zeiten besondere Wege zu gehen.

durée : 01:58:28 - En pistes ! du mercredi 04 novembre 2020 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Au menu du jour également : l'énigmatique et transcripteur de génie Ferruccio Busoni au centre du nouvel album du pianiste Steven Vanhauwaert; le ténor Emiliano Gonzalez Toro incarne Orfeo; deux nouveaux récitals labyrinthiques proposés par les pianistes David Greilsammer et Khatia Buniatishvili... - réalisé par : Lionel Quantin

In de komende weken zijn we afgedaald van het hoge noorden van de Scandinavische landen naar het zonnige zuiden van Italië. Maar ook daar hebben veel componisten de kneepjes van het vak ten noorden van de Alpen opgedaan, zoals Antonio Bazzini (1818-1897) en later Ferruccio Busoni. Bazzini componeerde meerdere strijkkwartetten die getuigen van zijn hang […]

MOZART, BEETHOVEN & MAS explores the music in Italy during the 20th century, featuring the music of FERRUCCIO BUSONI

MOZART, BEETHOVEN & MAS explores the music in Italy during the 20th century, featuring the music of FERRUCCIO BUSONI

Een zeer persoonlijke meditatie over de muziek van Bach, en het overlijden van zijn vader, op 12 mei 1909… Busoni componeerde met zijn Fantasie een indrukwekkend eerbetoon aan zijn vader, die hem liet kennismaken met Bach. Ferruccio Busoni Fantasie voor piano, “Fantasia nach J.S. Bach alla Memoria di mio Padre Ferdinando Busoni” Igor Levit, piano Sony 88985424452 14’33’’

It's been 95 years since the death of Ferruccio Busoni - a complicated, underappreciated musical genius whose pianism, compositions, and ideas, says Sara Fishko, deserve better! (Produced in 2012) Fishko Files with Sara Fishko Assistant Producer: Olivia BrileyMix Engineer: Wayne ShulmisterEditor: Karen Frillmann

We're just in love the Baroque era, there's something so Romantic about it!  Music: https://imslp.org/wiki/Fantasia_nach_J.S._Bach%2C_BV_253_(Busoni%2C_Ferruccio)  https://creativecommons.org/licenses/by-nc/3.0/legalcode

Pianist Kirill Gerstein chooses the conductor and composer Ferruccio Busoni. Matthew Parris presents. When Busoni died in Berlin in 1924, his pupil Kurt Weill said, "We did not lose a human being but a value." Unravelling exactly what this means is the pianist Kirill Gerstein, a great admirer of Busoni and also a performer of his work. Busoni was a thinker as well as a composer. His book from 1907, Sketch of a New Esthetic of Music, has influenced generations of musicians. The producer in Bristol is Miles Warde.

At more than 70 minutes, Ferruccio Busoni's wildly inventive Piano Concerto stands as a holy grail of the repertoire – a tour-de-force of virtuousity and stamina that has rarely been set down on disc. With his latest album, powerhouse pianist Kirill Gerstein adds to the collection his own formidable interpretation, which has been years in the making. Kirill joins us for a conversation about the work, and his long-time fascination with Busoni's music.

At more than 70 minutes, Ferruccio Busoni's wildly inventive Piano Concerto stands as a holy grail of the repertoire – a tour-de-force of virtuousity and stamina that has rarely been set down on disc. With his latest album, powerhouse pianist Kirill Gerstein adds to the collection his own formidable interpretation, which has been years in the making. Kirill joins us for a conversation about the work, and his long-time fascination with Busoni's music.

Ferruccio Busonis riesiges Klavierkonzert mit Schlusschor bis heute der Ruf des Kuriosums an, was schade ist und womit man Busoni Unrecht tut. Denn der jetzt beim Label Myrios erschienene Konzertmitschnitt mit Kirill Gerstein und dem Boston Symphony Orchestra unter Sakari Oramo macht erneut überdeutlich, dass da schlicht fantastische Musik zu erleben ist, einerseits hochemotional und packend, andererseits kompositionstechnisch absolut brillant und durchgefeilt.

I Marc-André Hamelins fingrar gömmer sig hela pianolitteraturen. Han har kallats sin landsman Glenn Goulds ende värdige arvtagare. Bland Marc-André Hamelins många inspelningar i eget namn finns en rad rosade och prisbelönta skivor med verk av till exempel Stravinskij, Rachmaninov, Mozart, Sjostakovitj, Debussy, Korngold, Skrijabin, Liszt, Reger, Stauss, Chopin, Leonard Bernstein, Robert Schumann, Janácek, Haydn och Brahms. Men Hamelin är även en av de mest spännande och modiga pianisterna som har gjort till sin passion att ur musikhistorien lyfta fram stora men udda tonsättare som hamnat i skuggan av mer spelade och säkrare kort. Som Charles-Valentin Alkan, Ferruccio Busoni, Joseph Marx, William Bolcom, Nikolaj Medtner och Gyorgy Catoire. År 2000 erövrade Hamelin en Grammy Award för sin kompletta utgåva av Leopold Godowskys virtuosa arrangemang av Chopinetyder. Naturligtvis ingår Beethovens kompletta pianosonater i Marc-André Hamelins repertoar, men att försöka avsätta ännu en inspelning på en redan mättad marknad vore en villfarelse, anser han. Skivbolag som EMI, Deutsche Grammofon och Phillips ser sina skivor som färskvaror och rensar ut sina titlar ur sortimenten redan efter 3-4 månader. Därför har Marc-André valt skivbolaget Hyperion, som gett ut 19 av hans skivor. De ger honom total konstnärlig frihet att utveckla konsertrepertoaren. Men egna stycket Music Box spelade han in på danska skivbolaget Danacord Marc-André Hamelin ser hela den tillgängliga pianolitteraturen som ETT väsen. Han särskiljer inte mellan standardverk och okända verk. Det är inte alltid geniala verk har haft möjlighet att bli kända. Det kan bero på otur eller att noterna helt enkelt inte har funnits tillgänliga, menar Hamelin, som spelat in hela Alkan's Symfoni för solopiano. Den ingår i ett verkcykel, som det tar över två timmar att spela, och som även innehåller en tresatsig konsert, en ouvertyr, ett antal variationer och tre enkla solostycken.  Alkans Symfoni för solopiano är i samma klass som vad som helst från Chopins eller Robert Schumanns pennor. Det är Hamelins absoluta övertygelse. Ett djupt poetiskt, superbt strukturerat verk. -Jag full av beundran, säger han.  -Alkan är en genunit originell tänkare, säger Marc-André Hamelin. För mig är det ett mysterium att Paganinis virtuosa musik har överlevt, medan Alkans har fallit i glömska, trots att noterna publicerades. Ett svar kan vara att Alkan gick i kvav tidigt. Lämnade aldrig sitt hus. Gjorde ingenting för att musiken skulle bli känd. I Alkans Symfoni för solopiano finner Hamelin alltid någon intressant harmonisk eller melodisk uppfinning. Med mycket SMÅ medel skapar tonsättaren en tragisk stämning. En storhet som inte står Schubert efter. Eller tonsättaren Leo Janacek med sin förmåga att, med några få toner, nå bråddjup, förklarar Hamelin. Men mitt i melankolin finns humorn. En rik och komplex musik som Hamelin attraheras av.       Låtlista:   Pianokvintett, Ess-dur, sats 1, Allegro Brillante Robert Schumann Marc-André Hamelin, The Leipzig String Quartet Liveinspelninga av Sveriges Radio, Malmö.   Music Box M-A Hamelin M-A Hamelin danacord DACOCD 559   Symphony for solo piano, Allegro Charles Valentine Alkan M-A Hamelin Hyperion CDA67218 Symphony for solo piano, Finale: Presto Charles Valentine Alkan M-A Hamelin Hyperion CDA67218   Fantasy i C-dur Robert Schumann M-A Hamelin   Complete Studies of Chopin's Etudes, Op 10 nr 12, Ciss-moll. For left hand. Leopold Godowsky M-A Hamelin Hyperion CDA67411/2   Piano Concerto in C-major, Op 39: III Pezzo serioso. Introductio och Prima Pars Ferruccio Busoni M-A Hamelin. The City of Birmingham Symphony Orchestra. Mark Elder, dirigent. Piano Concerto in C-major, Op 39: IV All' Italiana (Tarantella) Vivace Ferruccio Busoni M-A Hamelin. The City of Birmingham Symphony Orchestra. Mark Elder, dirigent.

M. R. James' "The Mezzotint" is one of the most fascinating, and most chilling, examples of the classic ghost story. In this episode, Phil and JF discover what this tale of haunted images and buried secrets tells us about the reality of ideas, the singularity of events, the virtual power of the symbol, and the enduring magic of the art object in the age of mechanical reproduction. To accompany this episode, Phil recorded a full reading of the story. Listen to it here (http://www.weirdstudies.com/11a). REFERENCES M.R. James, "The Mezzotint" (http://www.thin-ghost.org/items/show/145) Robert Aickman (https://en.wikipedia.org/wiki/Robert_Aickman), English author of "strange stories" Edgar Allan Poe, "The Oval Portrait" (https://poestories.com/read/ovalportrait) Walter Benjamin, "The Work of Art in the Age of Mechanical Reproduction" (https://www.marxists.org/reference/subject/philosophy/works/ge/benjamin.htm) Marshall McLuhan, The Book of Probes (https://www.amazon.com/Book-Probes-Marshall-McLuhan/dp/1584232528) Clement Greenberg (https://en.wikipedia.org/wiki/Clement_Greenberg), American art critic J.F. Martel, Reclaiming Art in the Age of Artifice (https://www.northatlanticbooks.com/shop/reclaiming-art-in-the-age-of-artifice/) Marcel Duchamps, Fountain (http://www.tate.org.uk/art/artworks/duchamp-fountain-t07573) Henri Bergson, Laughter (http://www.gutenberg.org/ebooks/4352) John Cage (https://en.wikipedia.org/wiki/John_Cage), American composer David Lynch (director), Twin Peaks: The Return (http://www.sho.com/twin-peaks) Gilles Deleuze, [Difference and Repetition](https://en.wikipedia.org/wiki/DifferenceandRepetition) Vilhelm Hammershøi (https://en.wikipedia.org/wiki/Vilhelm_Hammersh%C3%B8i), Danish painter Sigmund Freud, [Beyond the Pleasure Principle](https://www.libraryofsocialscience.com/assets/pdf/freudbeyondthepleasureprinciple.pdf) Martin Heidegger, [What is Called Thinking?](https://www.amazon.com/Called-Thinking-Harper-Perennial-Thought/dp/006090528X/ref=sr11?s=books&ie=UTF8&qid=1524419879&sr=1-1&keywords=heidegger+what+is+called+thinking) Stanley Kubrick, [The Shining](https://en.wikipedia.org/wiki/TheShining(film)) Ferruccio Busoni, Sketch of a New Esthetic of Music (https://archive.org/details/sketchofanewesth000125mbp) David Lynch on why you shouldn't watch films on your phone (https://www.youtube.com/watch?v=wKiIroiCvZ0) Nelson Goodman (https://en.wikipedia.org/wiki/Nelson_Goodman), American philosopher Pablo Picasso, Guernica (https://www.pablopicasso.org/guernica.jsp) Paul Thomas Anderson, The Master (https://www.newyorker.com/culture/richard-brody/the-astonishing-power-of-the-master) Martin Heidegger, Basic Writings (http://www.harpercollins.ca/9780061627019/basic-writings) Phil Ford, "No One Understands You" (http://www.weirdstudies.com/articles/no-one-understands-you)

At the turn of the 20th Century, the name of Ferruccio Busoni was on the lips of music-lovers across Europe. But 150 years after the composer’s birth, contemporary concert goers barely know who he is. With Tom Service.

Works by Bach for chamber orchestra performed by Rebel on November 10, 2013 and solo piano performed by Ji, piano on April 12, 2015. Bach: Concerto in A MajorBach: Toccata, Adagio, and Fuge BWV 564 arr. Ferrucio BusoniIt’s incredible to think just how much influence and resonance the music of Johann Sebastian Bach still has today, three hundred years after it was written. This podcast shows just two of the many examples of ways in which musicians continue to discover new possibilities in this centuries-old music, recreating Bach for different times and instruments.The concerto on this podcast was originally composed for oboe d’amore, and only later adapted and published for harpsichord as the Concerto in A Major, BWV 1055. Centuries later, however, only the harpsichord version remained. So in the 1970s, scholar and editor Wilfried Fischer decided to tackle the task of recreating the original oboe concerto, based on an early manuscript that provided hints about which lines were originally meant for oboe.Perhaps the most radical advance in musical technology since the Baroque era has been in the keyboard family, and Bach’s music is now regularly played on piano—an instrument that did not exist during his lifetime. Following the oboe concerto, we’ll hear Bach’s Toccata, Adagio and Fugue in C major for organ, adapted for the modern piano by Ferruccio Busoni. We’ll hear the piece performed by the young Chinese-born pianist Ji.

Ferruccio Busoni var en italiensk kompositör och pianist, i huvudsak verksam i Österrike och Tyskland. Som pianist var han mest intresserad av Bach, Mozart och Liszt, men han hade en stor repertoar från Rameau till Balakirev. Han var intresserad av många olika sorters musik från gregoriansk sång till nya skalor och mikrotonalitet. Busoni debuterade vid nio års ålder i en konsert av Mozart och blev den som tjänade till brödfödan i familjen. 1894 bosatta han sig i Berlin, där han finansierade konserter med ny musik och aktivt stödde unga tonsättare. Efter en tid i USA och Schweiz återvände Busoni till Berlin 1920 där han undervisade och höll öppet hus för unga musiker i sin egen våning. Mer information på sverigesradio.se/p2

Ferruccio Busoni var en italiensk kompositör och pianist, i huvudsak verksam i Österrike och Tyskland. Som pianist var han mest intresserad av Bach, Mozart och Liszt, men han hade en stor repertoar från Rameau till Balakirev. Han var intresserad av många olika sorters musik från gregoriansk sång till nya skalor och mikrotonalitet. Busoni debuterade vid nio års ålder i en konsert av Mozart och blev den som tjänade till brödfödan i familjen. 1894 bosatta han sig i Berlin, där han finansierade konserter med ny musik och aktivt stödde unga tonsättare. Efter en tid i USA och Schweiz återvände Busoni till Berlin 1920 där han undervisade och höll öppet hus för unga musiker i sin egen våning. Mer information på sverigesradio.se/p2

Ferruccio Busoni var en italiensk kompositör och pianist, i huvudsak verksam i Österrike och Tyskland. Som pianist var han mest intresserad av Bach, Mozart och Liszt, men han hade en stor repertoar från Rameau till Balakirev. Han var intresserad av många olika sorters musik från gregoriansk sång till nya skalor och mikrotonalitet. Busoni debuterade vid nio års ålder i en konsert av Mozart och blev den som tjänade till brödfödan i familjen. 1894 bosatta han sig i Berlin, där han finansierade konserter med ny musik och aktivt stödde unga tonsättare. Efter en tid i USA och Schweiz återvände Busoni till Berlin 1920 där han undervisade och höll öppet hus för unga musiker i sin egen våning. Mer information på sverigesradio.se/p2

Ferruccio Busoni var en italiensk kompositör och pianist, i huvudsak verksam i Österrike och Tyskland. Som pianist var han mest intresserad av Bach, Mozart och Liszt, men han hade en stor repertoar från Rameau till Balakirev. Han var intresserad av många olika sorters musik från gregoriansk sång till nya skalor och mikrotonalitet. Busoni debuterade vid nio års ålder i en konsert av Mozart och blev den som tjänade till brödfödan i familjen. 1894 bosatta han sig i Berlin, där han finansierade konserter med ny musik och aktivt stödde unga tonsättare. Efter en tid i USA och Schweiz återvände Busoni till Berlin 1920 där han undervisade och höll öppet hus för unga musiker i sin egen våning. Mer information på sverigesradio.se/p2

Ferruccio Busoni var en italiensk kompositör och pianist, i huvudsak verksam i Österrike och Tyskland. Som pianist var han mest intresserad av Bach, Mozart och Liszt, men han hade en stor repertoar från Rameau till Balakirev. Han var intresserad av många olika sorters musik från gregoriansk sång till nya skalor och mikrotonalitet. Busoni debuterade vid nio års ålder i en konsert av Mozart och blev den som tjänade till brödfödan i familjen. 1894 bosatta han sig i Berlin, där han finansierade konserter med ny musik och aktivt stödde unga tonsättare. Efter en tid i USA och Schweiz återvände Busoni till Berlin 1920 där han undervisade och höll öppet hus för unga musiker i sin egen våning. Mer information på sverigesradio.se/p2

Ferruccio Busoni var en italiensk kompositör och pianist, i huvudsak verksam i Österrike och Tyskland. Som pianist var han mest intresserad av Bach, Mozart och Liszt, men han hade en stor repertoar från Rameau till Balakirev. Han var intresserad av många olika sorters musik från gregoriansk sång till nya skalor och mikrotonalitet. Busoni debuterade vid nio års ålder i en konsert av Mozart och blev den som tjänade till brödfödan i familjen. 1894 bosatta han sig i Berlin, där han finansierade konserter med ny musik och aktivt stödde unga tonsättare. Efter en tid i USA och Schweiz återvände Busoni till Berlin 1920 där han undervisade och höll öppet hus för unga musiker i sin egen våning. Mer information på sverigesradio.se/p2

Ferruccio Busoni var en italiensk kompositör och pianist, i huvudsak verksam i Österrike och Tyskland. Som pianist var han mest intresserad av Bach, Mozart och Liszt, men han hade en stor repertoar från Rameau till Balakirev. Han var intresserad av många olika sorters musik från gregoriansk sång till nya skalor och mikrotonalitet. Busoni debuterade vid nio års ålder i en konsert av Mozart och blev den som tjänade till brödfödan i familjen. 1894 bosatta han sig i Berlin, där han finansierade konserter med ny musik och aktivt stödde unga tonsättare. Efter en tid i USA och Schweiz återvände Busoni till Berlin 1920 där han undervisade och höll öppet hus för unga musiker i sin egen våning. Mer information på sverigesradio.se/p2

Ferruccio Busoni var en italiensk kompositör och pianist, i huvudsak verksam i Österrike och Tyskland. Som pianist var han mest intresserad av Bach, Mozart och Liszt, men han hade en stor repertoar från Rameau till Balakirev. Han var intresserad av många olika sorters musik från gregoriansk sång till nya skalor och mikrotonalitet. Busoni debuterade vid nio års ålder i en konsert av Mozart och blev den som tjänade till brödfödan i familjen. 1894 bosatta han sig i Berlin, där han finansierade konserter med ny musik och aktivt stödde unga tonsättare. Efter en tid i USA och Schweiz återvände Busoni till Berlin 1920 där han undervisade och höll öppet hus för unga musiker i sin egen våning. Mer information på sverigesradio.se/p2

Ferruccio Busoni var en italiensk kompositör och pianist, i huvudsak verksam i Österrike och Tyskland. Som pianist var han mest intresserad av Bach, Mozart och Liszt, men han hade en stor repertoar från Rameau till Balakirev. Han var intresserad av många olika sorters musik från gregoriansk sång till nya skalor och mikrotonalitet. Busoni debuterade vid nio års ålder i en konsert av Mozart och blev den som tjänade till brödfödan i familjen. 1894 bosatta han sig i Berlin, där han finansierade konserter med ny musik och aktivt stödde unga tonsättare. Efter en tid i USA och Schweiz återvände Busoni till Berlin 1920 där han undervisade och höll öppet hus för unga musiker i sin egen våning. Mer information på sverigesradio.se/p2

Ferruccio Busoni var en italiensk kompositör och pianist, i huvudsak verksam i Österrike och Tyskland. Som pianist var han mest intresserad av Bach, Mozart och Liszt, men han hade en stor repertoar från Rameau till Balakirev. Han var intresserad av många olika sorters musik från gregoriansk sång till nya skalor och mikrotonalitet. Busoni debuterade vid nio års ålder i en konsert av Mozart och blev den som tjänade till brödfödan i familjen. 1894 bosatta han sig i Berlin, där han finansierade konserter med ny musik och aktivt stödde unga tonsättare. Efter en tid i USA och Schweiz återvände Busoni till Berlin 1920 där han undervisade och höll öppet hus för unga musiker i sin egen våning. Mer information på sverigesradio.se/p2

Ferruccio Busoni var en italiensk kompositör och pianist, i huvudsak verksam i Österrike och Tyskland. Som pianist var han mest intresserad av Bach, Mozart och Liszt, men han hade en stor repertoar från Rameau till Balakirev. Han var intresserad av många olika sorters musik från gregoriansk sång till nya skalor och mikrotonalitet. Busoni debuterade vid nio års ålder i en konsert av Mozart och blev den som tjänade till brödfödan i familjen. 1894 bosatta han sig i Berlin, där han finansierade konserter med ny musik och aktivt stödde unga tonsättare. Efter en tid i USA och Schweiz återvände Busoni till Berlin 1920 där han undervisade och höll öppet hus för unga musiker i sin egen våning. Mer information på sverigesradio.se/p2

Ferruccio Busoni var en italiensk kompositör och pianist, i huvudsak verksam i Österrike och Tyskland. Som pianist var han mest intresserad av Bach, Mozart och Liszt, men han hade en stor repertoar från Rameau till Balakirev. Han var intresserad av många olika sorters musik från gregoriansk sång till nya skalor och mikrotonalitet. Busoni debuterade vid nio års ålder i en konsert av Mozart och blev den som tjänade till brödfödan i familjen. 1894 bosatta han sig i Berlin, där han finansierade konserter med ny musik och aktivt stödde unga tonsättare. Efter en tid i USA och Schweiz återvände Busoni till Berlin 1920 där han undervisade och höll öppet hus för unga musiker i sin egen våning. Mer information på sverigesradio.se/p2

Alfred Hoehn var en tysk pianist och pianopedagog. Han studerade för bl.a. Eugen dAlbert och Ferruccio Busoni. 1910 vann han Anton Rubinstein-priset före Artur Rubinstein. Hoehn var en framstående pianist med stor klangfärgsrikedom och närvaro i spelet och en enastående teknik. Han systematiserade pianospelets anslag. Genom målinriktad anslagsträning skulle man bemästra de tekniska problemen i stället för att spela sig igenom oändliga etydövningar. Mer information på sverigesradio.se/p2

Alfred Hoehn var en tysk pianist och pianopedagog. Han studerade för bl.a. Eugen dAlbert och Ferruccio Busoni. 1910 vann han Anton Rubinstein-priset före Artur Rubinstein. Hoehn var en framstående pianist med stor klangfärgsrikedom och närvaro i spelet och en enastående teknik. Han systematiserade pianospelets anslag. Genom målinriktad anslagsträning skulle man bemästra de tekniska problemen i stället för att spela sig igenom oändliga etydövningar. Mer information på sverigesradio.se/p2

Ferruccio Busoni var en italiensk kompositör och pianist, i huvudsak verksam i Österrike och Tyskland. Som pianist var han mest intresserad av Bach, Mozart och Liszt, men han hade en stor repertoar - från Rameau till Balakirev. Han var intresserad av många olika sorters musik från gregoriansk sång till nya skalor och mikrotonalitet. Busoni debuterade vid nio års ålder i en konsert av Mozart och blev den som tjänade till brödfödan i familjen. 1894 bosatta han sig i Berlin, där han finansierade konserter med ny musik och aktivt stödde unga tonsättare. Efter en tid i USA och Schweiz återvände Busoni till Berlin 1920 där han undervisade och höll öppet hus för unga musiker i sin egen våning. Mer information på sverigesradio.se/p2

Ferruccio Busoni var en italiensk kompositör och pianist, i huvudsak verksam i Österrike och Tyskland. Som pianist var han mest intresserad av Bach, Mozart och Liszt, men han hade en stor repertoar - från Rameau till Balakirev. Han var intresserad av många olika sorters musik från gregoriansk sång till nya skalor och mikrotonalitet. Busoni debuterade vid nio års ålder i en konsert av Mozart och blev den som tjänade till brödfödan i familjen. 1894 bosatta han sig i Berlin, där han finansierade konserter med ny musik och aktivt stödde unga tonsättare. Efter en tid i USA och Schweiz återvände Busoni till Berlin 1920 där han undervisade och höll öppet hus för unga musiker i sin egen våning. Mer information på sverigesradio.se/p2

Ferruccio Busoni var en italiensk kompositör och pianist, i huvudsak verksam i Österrike och Tyskland. Som pianist var han mest intresserad av Bach, Mozart och Liszt, men han hade en stor repertoar - från Rameau till Balakirev. Han var intresserad av många olika sorters musik från gregoriansk sång till nya skalor och mikrotonalitet. Busoni debuterade vid nio års ålder i en konsert av Mozart och blev den som tjänade till brödfödan i familjen. 1894 bosatta han sig i Berlin, där han finansierade konserter med ny musik och aktivt stödde unga tonsättare. Efter en tid i USA och Schweiz återvände Busoni till Berlin 1920 där han undervisade och höll öppet hus för unga musiker i sin egen våning. Mer information på sverigesradio.se/p2

Ferruccio Busoni var en italiensk kompositör och pianist, i huvudsak verksam i Österrike och Tyskland. Som pianist var han mest intresserad av Bach, Mozart och Liszt, men han hade en stor repertoar - från Rameau till Balakirev. Han var intresserad av många olika sorters musik från gregoriansk sång till nya skalor och mikrotonalitet. Busoni debuterade vid nio års ålder i en konsert av Mozart och blev den som tjänade till brödfödan i familjen. 1894 bosatta han sig i Berlin, där han finansierade konserter med ny musik och aktivt stödde unga tonsättare. Efter en tid i USA och Schweiz återvände Busoni till Berlin 1920 där han undervisade och höll öppet hus för unga musiker i sin egen våning. Mer information på sverigesradio.se/p2

Ferruccio Busoni var en italiensk kompositör och pianist, i huvudsak verksam i Österrike och Tyskland. Som pianist var han mest intresserad av Bach, Mozart och Liszt, men han hade en stor repertoar - från Rameau till Balakirev. Han var intresserad av många olika sorters musik från gregoriansk sång till nya skalor och mikrotonalitet. Busoni debuterade vid nio års ålder i en konsert av Mozart och blev den som tjänade till brödfödan i familjen. 1894 bosatta han sig i Berlin, där han finansierade konserter med ny musik och aktivt stödde unga tonsättare. Efter en tid i USA och Schweiz återvände Busoni till Berlin 1920 där han undervisade och höll öppet hus för unga musiker i sin egen våning. Mer information på sverigesradio.se/p2

Ferruccio Busoni var en italiensk kompositör och pianist, i huvudsak verksam i Österrike och Tyskland. Som pianist var han mest intresserad av Bach, Mozart och Liszt, men han hade en stor repertoar - från Rameau till Balakirev. Han var intresserad av många olika sorters musik från gregoriansk sång till nya skalor och mikrotonalitet. Busoni debuterade vid nio års ålder i en konsert av Mozart och blev den som tjänade till brödfödan i familjen. 1894 bosatta han sig i Berlin, där han finansierade konserter med ny musik och aktivt stödde unga tonsättare. Efter en tid i USA och Schweiz återvände Busoni till Berlin 1920 där han undervisade och höll öppet hus för unga musiker i sin egen våning. Mer information på sverigesradio.se/p2

Ferruccio Busoni var en italiensk kompositör och pianist, i huvudsak verksam i Österrike och Tyskland. Som pianist var han mest intresserad av Bach, Mozart och Liszt, men han hade en stor repertoar - från Rameau till Balakirev. Han var intresserad av många olika sorters musik från gregoriansk sång till nya skalor och mikrotonalitet. Busoni debuterade vid nio års ålder i en konsert av Mozart och blev den som tjänade till brödfödan i familjen. 1894 bosatta han sig i Berlin, där han finansierade konserter med ny musik och aktivt stödde unga tonsättare. Efter en tid i USA och Schweiz återvände Busoni till Berlin 1920 där han undervisade och höll öppet hus för unga musiker i sin egen våning. Mer information på sverigesradio.se/p2

Ferruccio Busoni var en italiensk kompositör och pianist, i huvudsak verksam i Österrike och Tyskland. Som pianist var han mest intresserad av Bach, Mozart och Liszt, men han hade en stor repertoar - från Rameau till Balakirev. Han var intresserad av många olika sorters musik från gregoriansk sång till nya skalor och mikrotonalitet. Busoni debuterade vid nio års ålder i en konsert av Mozart och blev den som tjänade till brödfödan i familjen. 1894 bosatta han sig i Berlin, där han finansierade konserter med ny musik och aktivt stödde unga tonsättare. Efter en tid i USA och Schweiz återvände Busoni till Berlin 1920 där han undervisade och höll öppet hus för unga musiker i sin egen våning. Mer information på sverigesradio.se/p2

Ferruccio Busoni var en italiensk kompositör och pianist, i huvudsak verksam i Österrike och Tyskland. Som pianist var han mest intresserad av Bach, Mozart och Liszt, men han hade en stor repertoar - från Rameau till Balakirev. Han var intresserad av många olika sorters musik från gregoriansk sång till nya skalor och mikrotonalitet. Busoni debuterade vid nio års ålder i en konsert av Mozart och blev den som tjänade till brödfödan i familjen. 1894 bosatta han sig i Berlin, där han finansierade konserter med ny musik och aktivt stödde unga tonsättare. Efter en tid i USA och Schweiz återvände Busoni till Berlin 1920 där han undervisade och höll öppet hus för unga musiker i sin egen våning. Mer information på sverigesradio.se/p2

Ferruccio Busoni var en italiensk kompositör och pianist, i huvudsak verksam i Österrike och Tyskland. Som pianist var han mest intresserad av Bach, Mozart och Liszt, men han hade en stor repertoar - från Rameau till Balakirev. Han var intresserad av många olika sorters musik från gregoriansk sång till nya skalor och mikrotonalitet. Busoni debuterade vid nio års ålder i en konsert av Mozart och blev den som tjänade till brödfödan i familjen. 1894 bosatta han sig i Berlin, där han finansierade konserter med ny musik och aktivt stödde unga tonsättare. Efter en tid i USA och Schweiz återvände Busoni till Berlin 1920 där han undervisade och höll öppet hus för unga musiker i sin egen våning. Mer information på sverigesradio.se/p2

Ferruccio Busoni var en italiensk kompositör och pianist, i huvudsak verksam i Österrike och Tyskland. Som pianist var han mest intresserad av Bach, Mozart och Liszt, men han hade en stor repertoar - från Rameau till Balakirev. Han var intresserad av många olika sorters musik från gregoriansk sång till nya skalor och mikrotonalitet. Busoni debuterade vid nio års ålder i en konsert av Mozart och blev den som tjänade till brödfödan i familjen. 1894 bosatta han sig i Berlin, där han finansierade konserter med ny musik och aktivt stödde unga tonsättare. Efter en tid i USA och Schweiz återvände Busoni till Berlin 1920 där han undervisade och höll öppet hus för unga musiker i sin egen våning. Mer information på sverigesradio.se/p2

Alfred Hoehn var en tysk pianist och pianopedagog. Han studerade för bl.a. Eugen dAlbert och Ferruccio Busoni. 1910 vann han Anton Rubinstein-priset före Artur Rubinstein. Hoehn var en framstående pianist med stor klangfärgsrikedom och närvaro i spelet - och en enastående teknik. Han systematiserade pianospelets anslag. Genom målinriktad anslagsträning skulle man bemästra de tekniska problemen i stället för att spela sig igenom oändliga etydövningar. Mer information på sverigesradio.se/p2

Ferruccio Busoni var en italiensk kompositör och pianist, i huvudsak verksam i Österrike och Tyskland. Som pianist var han mest intresserad av Bach, Mozart och Liszt, men han hade en stor repertoar - från Rameau till Balakirev. Han var intresserad av många olika sorters musik från gregoriansk sång till nya skalor och mikrotonalitet. Busoni debuterade vid nio års ålder i en konsert av Mozart och blev den som tjänade till brödfödan i familjen. 1894 bosatta han sig i Berlin, där han finansierade konserter med ny musik och aktivt stödde unga tonsättare. Efter en tid i USA och Schweiz återvände Busoni till Berlin 1920 där han undervisade och höll öppet hus för unga musiker i sin egen våning. Mer information på sverigesradio.se/p2

Ferruccio Busoni var en italiensk kompositör och pianist, i huvudsak verksam i Österrike och Tyskland. Som pianist var han mest intresserad av Bach, Mozart och Liszt, men han hade en stor repertoar - från Rameau till Balakirev. Han var intresserad av många olika sorters musik från gregoriansk sång till nya skalor och mikrotonalitet. Busoni debuterade vid nio års ålder i en konsert av Mozart och blev den som tjänade till brödfödan i familjen. 1894 bosatta han sig i Berlin, där han finansierade konserter med ny musik och aktivt stödde unga tonsättare. Efter en tid i USA och Schweiz återvände Busoni till Berlin 1920 där han undervisade och höll öppet hus för unga musiker i sin egen våning. Mer information på sverigesradio.se/p2

Alfred Hoehn var en tysk pianist och pianopedagog. Han studerade för bl.a. Eugen dAlbert och Ferruccio Busoni. 1910 vann han Anton Rubinstein-priset före Artur Rubinstein. Hoehn var en framstående pianist med stor klangfärgsrikedom och närvaro i spelet - och en enastående teknik. Han systematiserade pianospelets anslag. Genom målinriktad anslagsträning skulle man bemästra de tekniska problemen i stället för att spela sig igenom oändliga etydövningar. Mer information på sverigesradio.se/p2

Works for keyboard and string quintet performed by Katherine Chi, piano, and Musicians from Marlboro.Busoni/Liszt: Fantasie on Two Motives from Mozart's Marriage of FigaroMozart: String Quintet in C Major, K. 515The late 80’s were good to Mozart. In 1786, his opera The Marriage of Figaro premiered to widespread acclaim; the next year, Don Giovanni opened to similar accolades. The work we’ll hear on today’s podcast, his string quintet in C Major, K. 515, springs from that wonderfully productive time. For this delightful and sunny quintet, Mozart imaginatively adds a second viola to the standard string quartet. He uses this second interior voice to lovely effect in the third movement in particular, as a duet partner to the first violin. We’ll introduce the quintet, fittingly, with an arrangement of themes from Mozart’s then-recent operatic triumph, The Marriage of Figaro. Katherine Chi will perform the Fantasie on Two Motives from Mozart’s Marriage of Figaro. Composed by Liszt but left incomplete, the piece and was later completed and published by the famous pianist and Liszt enthusiast Ferruccio Busoni. A charming pianistic take on the opera, the piece quotes two arias: “Voi che sapete” and “Non più andrai.”