1320:
43:
370:
could certainly perceive a structural logic and an aesthetically ordered system of sound deployment in these pieces; but novelty seekers will have found as little "music" here as the normal, naïve listener ... No, no and no again, these were not the inspirations of a man ahead of his time, these were simply calculations.... What a weird creature, for instance, is the "waltz" entitled "Die Nächtlichen." I trust they aren't "All-Nächtlichen."
1600:
351:. With this, of course, came both new friends and opponents, many with rather strong feelings and opinions. "Every new composition would be avidly awaited, on the one hand by the blood-lusty opponents of the new, on the other by those eager to show themselves up-to-date." Nevertheless, Busoni plunged ahead with a performance of all six pieces on 12 March 1909 at the Beethovensaal in Berlin.
369:
Busoni's six elegies were a veritable source of dismay, with the exception of the fourth, which bears the title "Turandots
Frauengemach." He who knew something of Busoni's strivings for a new harmonic system and of his belief that he has already achieved new tonalities through curiously built scales,
318:
Busoni recognized the change: "My entire personal vision I put down at last and for the first time in the
Elegies" and "the Elegies signify a milestone in my development. Almost a transformation. Hence the title, 'nach der Wendung'." Even the backward-looking pieces based on previously published
841:
354:"Turandots Frauengemach" was well received, and to this day remains the most popular of the six. Otherwise, the critics reactions were generally negative, and sometimes downright hostile. August Spamuth's review in
193:), although the music itself is not entirely from that movement. A particularly effective moment is based on a section of the second movement marked "in modo napolitano." Nos. 4 and 5 come from the
1458:
362:
conducts, composes, agitates etc. He is one of those restless spirits who are never satisfied with what has been achieved, who can never call a halt.... He is something of a born opposer of
100:
is a set of solo piano pieces which can be played as a cycle or separately. Initially published in 1908 with six pieces, it was subsequently expanded to seven by the addition of the
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268:
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198:
190:
105:
831:
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790:
776:
374:
Later, after more public performances, Busoni was well aware of the negative public reaction, but still clearly believed he had chosen the correct path. In a letter to
1582:
1627:
366:
and when that for which he strives with all his power, a new aesthetic of music, is established and recognized, Busoni will become its irreconcilable opponent....
1334:
1241:
1603:
1587:
752:
181:, that is not a totally accurate description, since three of the pieces are based on other, older compositions by the composer. No. 2 is based on the
386:. In these pieces I am particularly proud of the form and clarity. For instance, the structure and proportions of the "Erscheinung" seem exemplary."
1260:
595:
3) Nos. 1-7: Leipzig: Breitkopf & Härtel, (1908/09), cat. no. EB 5214, plate nos. 26042-26046 (nos.1-5), 26052 (no.6), 26282 (no.7), (52 pages)
56:
1264:
1211:
378:
he wrote, "Thank you for your kind words about the
Elegies. On several occasions I have now found that they appear infinitely simpler to the
886:
Duration is based on the following recordings: Geoffrey
Douglas Madge, 41:07 (Philips 420 740-2); Jeni Slotchiver, 44:05 (Centaur CRC 2438).
1622:
1137:
1192:
1172:
1145:
1118:
1095:
734:
533:, Copyright 1908, cat. nos. EB 26042-46, 26052, plate nos. Klav. Bibl. 26042-26046 (nos.1-5); Klav. Bibl. 26052 (no.6), (57 pages)
1234:
748:
42:
1268:
1417:
772:
709:
211:
1227:
1110:
335:. Introductory measures, bridge passages, and transpositions have been added which incorporate this new style.
1425:
1382:
530:
256:
231:
178:
1340:
1133:
551:
b) The 6 piano pieces may be performed as a cycle or separately. When performed as a cycle, the last piece (
264:
186:
1566:
800:
786:
1520:
1157:
209:). A further three pieces were also used again: No. 3 became the introductory "Preludio corale" of the
303:
scales and runs, often differing from the surrounding harmonies, are extensively employed and varied;
251:
mark a significant change in Busoni's compositional approach. Up to this point he had composed in the
1449:
1444:
727:
The
Complete Elegies, the Six Sonatinas, and Other Original Works for Solo Piano, Ferruccio Busoni
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1125:
722:
93:
810:
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1207:
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730:
696:
425:
is included as a sketch, although it was not included in the count of 5, and remained unnamed.
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33:
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1037:
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85:
572:
2) No. 7: Leipzig: Breitkopf & Härtel, Copyright 1909, cat. no. V.A. 3053, (7 pages)
965:
1551:
1536:
1495:
1485:
1374:
1347:
837:
827:
485:
401:
252:
194:
1616:
1409:
1283:
292:
288:
284:
221:
1561:
1475:
1307:
1199:
331:) have been changed to reflect his new outlook. Tonality is weakened by the use of
308:
280:
667:
According to the
Breitkopf & Härtel catalog this publication appeared in 1909.
644:
According to the
Breitkopf & Härtel catalog this publication appeared in 1909.
1490:
688:
632:
4) No. 2: Leipzig: Breitkopf & Härtel, 1908, Cat. no. V.A. 2907, (15 pages)
655:
5) No. 4: Leipzig: Breitkopf & Härtel, 1908, Cat. no. V.A. 2908, (7 pages)
1556:
1510:
1505:
1480:
1041:
455:
375:
332:
559:). When not played as part of a cycle, the last piece has a different ending.
621:
Leipzig: VEB Breitkopf & Härtel, ; Wiesbaden: Breitkopf & Härtel,
1156:. Studien zur Musikgeschichte des 19. Jahrhunderts, vol. 19. Regensburg:
794:
780:
548:
a) Section titles and dedications are the same as for manuscript no. 238.
312:
304:
1154:
Thematisch-chronologisches
Verzeichnis der Werke von Ferruccio B. Busoni
319:
works (the tarantella and neapolitan song from the Piano
Concerto, and
272:
661:
Zwei
KlavierstĂĽcke aus den Elegien. Turandots Frauengemach. Intermezzo
938:, trans. Rosamond Ley. London: Rockliff (1957), p. 78, as quoted in
1219:
638:
Zwei KlavierstĂĽcke aus den Elegien. All' Italia! In modo napolitano
842:
Alfred Brendel – Unpublished Live and Radio Performances 1968–2001
347:
in 1907 Busoni had become identified as one of the leaders of the
1204:
Busoni and the Piano. The Works, the Writings, and the Recordings
767:
Select the catalog number link for additional recording details.
47:
Cover of the first edition in 1908, including a design by Busoni
1223:
255:
style, reaching a level of full mastery, as exemplified by the
951:
Letter to Robert Freund, 7 May 1908, translated and quoted by
840:, "Meine Seele bangt und hofft zu Dir" and "Erscheinung" (see
678:
6) Nos. 2 & 4: Moscow: Muzyka, 1969 (ed. Grigorii Kogan)
410:"Nach der Wendung" 5 neue ClavierstĂĽcke von Ferruccio Busoni
177:
Although labelled as "Neue KlavierstĂĽcke" by the publisher
229:), and No. 7 was extended into the orchestral masterpiece
460:
3) "Meine Seele bangt und hofft zu Dir".Choralvorspiel.
108:). The set of seven takes just over 40 minutes to play.
1459:
Fantasy on Themes from Mozart's Figaro and Don Giovanni
555:) ends with a motive from the beginning of the first (
1575:
1529:
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1435:
1393:
1358:
1327:
1275:
62:
52:
23:
1023:, 18 March 1908; cited, translated and quoted by
1583:Ferruccio Busoni International Piano Competition
219:), No. 6 was used for Act I part 1 of the opera
830:, "All'Italia!" and "Turandots Frauengemach" (
1235:
8:
1206:. (2nd ed.) Hillsdale, NY: Pendragon Press.
315:steps, magnify these disorienting effects.
1242:
1228:
1220:
41:
20:
1588:Ferruccio Busoni discography (as pianist)
1058:
1056:
1054:
998:"Turandots Frauengemach" was selected by
982:
980:
753:International Music Score Library Project
467:4) Turandot's Frauengemach. Intermezzo.
116:The seven pieces are titled as follows:
854:
339:First performance and critical reaction
1628:Piano compositions by Ferruccio Busoni
918:
916:
874:
299:other than thirds; unusual and highly
1335:Concerto for Piano and String Quartet
936:The Essence of Music and Other Papers
416:15. "September 1907 bis 20. November"
16:1908 piano pieces by Ferruccio Busoni
7:
1181:Ferruccio Busoni: A Bio-Bibliography
1045:
1024:
986:
952:
895:
615:) as no.7, dedicated to Johan Wysman
451:2) All' Italia! in modo napolitana.
444:1) Nach der Wendung. Recueillement.
283:used audaciously to blend disparate
201:), and were later used in the opera
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601:Elegien. Sieben neue KlavierstĂĽcke
390:Manuscript and publication details
345:Sketch of a New Aesthetic of Music
307:, and solitary "sighs," moving by
144:Meine Seele bangt und hofft zu Dir
14:
1021:Signale fĂĽr die musikalische Welt
967:Sketch Of A New Esthetic Of Music
356:Signale fĂĽr die musikalische Welt
1599:
1598:
1318:
515:4 pages, unpaginated, unattached
687:7) No. 4: New York and London:
440:Section titles and dedications:
291:are overlapped and juxtaposed;
708:8) Nos. 1-7: Miami Lanes, FL:
1:
1130:Ferruccio Busoni: A Biography
539:Elegien. 6 neue KlavierstĂĽcke
96:249, by the Italian composer
1451:Toccata and Fugue in D minor
1179:Roberge, Marc-André (1991).
1044:, dated Vienna, 2 May 1908,
481:6) Erscheinung. (Notturno.)
474:5) Die Nächtlichen. Walzer.
343:With his publication of the
1623:Compositions for solo piano
1152:Kindermann, JĂĽrgen (1980).
1019:August Spumath's review in
404:No. 237 (some as sketches)
1644:
1418:Fantasia contrappuntistica
797:with limited availability)
783:with limited availability)
721:9) Nos. 1-7: Mineola, NY:
710:Masters Music Publications
430:2) Busoni Archive No. 238
212:Fantasia contrappuntistica
1596:
1316:
1257:
1111:Columbia University Press
1004:Encores of Great Pianists
693:Encores of Great Pianists
494:3) Staatsarchiv, Leipzig
40:
30:
1107:Busoni: Selected Letters
1134:Oxford University Press
964:English translation of
1567:George Frederick Boyle
801:Geoffrey Douglas Madge
578:Berceuse pour le piano
531:Breitkopf & Härtel
529:1) Nos. 1-6: Leipzig:
372:
279:is extended, with the
185:(4th movement) of the
179:Breitkopf & Härtel
151:Turandots Frauengemach
89:
1006:, G. Schirmer, 1975.
360:
295:are constructed from
31:Solo piano pieces by
1530:Composition students
1445:Bach-Busoni Editions
1136:. (Reprint: London:
898:(1985), pp. 101-115.
464:Gregor Beklemischeff
112:Sections of the work
1158:Gustav Bosse Verlag
1084:Busoni the Composer
436:6 Elegien 1907-1908
358:is representative:
349:musical avant-garde
1438:and transcriptions
1394:Piano compositions
1383:Berceuse élégiaque
934:Ferruccio Busoni,
723:Dover Publications
712:, , cat. no. M1074
471:Michael von Zadora
232:Berceuse élégiaque
137:In modo napolitano
1610:
1609:
1469:Keyboard students
1212:978-1-57647-158-6
1000:Raymond Lewenthal
820:Jeni Slotchiver (
805:Philips 420 740-2
768:
697:Raymond Lewenthal
448:Gottfried Galston
364:the Establishment
273:harmonic language
243:New musical style
146:(Choralvorspiel)
77:
76:
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1576:Related articles
1521:Józef Turczyński
1516:Zdenka Ticharich
1322:
1251:Ferruccio Busoni
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773:David Rubinstein
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751:: Scores at the
557:Nach der Wendung
478:O'Neill Philipps
122:Nach der Wendung
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158:Die Nächtlichen
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1063:Roberge (1991)
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1008:Roberge (1991)
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877:, pp. 231-234.
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828:Geoffrey Tozer
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402:Busoni Archive
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265:Piano Concerto
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1284:Die Brautwahl
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1200:Sitsky, Larry
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970:from 1911 at
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815:CPO 999 853-2
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729:, pp. 35-86.
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525:Publications:
523:
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512:5. Juni 1909.
511:
508:
506:Johan Wijsman
505:
502:
499:
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493:
487:
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224:
223:
222:Die Brautwahl
218:
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208:
204:
200:
196:
192:
188:
184:
183:All' Italiana
180:
173:
169:
166:
162:
159:
155:
153:(Intermezzo)
152:
148:
145:
141:
138:
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130:
127:
126:Recueillement
123:
119:
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95:
91:
87:
83:
82:
65:
61:
58:
55:
51:
44:
39:
35:
29:
26:
22:
19:
1562:Stefan Wolpe
1476:Guido Agosti
1457:
1450:
1426:KlavierĂĽbung
1424:
1416:
1408:
1401:
1400:
1381:
1373:
1365:
1346:
1308:Doktor Faust
1306:
1298:
1290:
1282:
1261:Compositions
1203:
1183:. New York:
1180:
1153:
1129:
1109:, New York:
1106:
1083:
1048:, pp. 87-88.
1032:
1020:
1015:
1003:
994:
966:
960:
947:
935:
930:
910:, pp. 60-65.
903:
891:
882:
832:Chandos 9394
791:Argo ZRG 741
787:Martin Jones
777:Musicus 1001
764:
762:
726:
692:
664:
658:
641:
635:
618:
608:
604:
598:
581:
575:
556:
552:
543:
536:
524:
509:
503:
497:
482:
475:
468:
461:
452:
445:
439:
433:
422:
419:
413:
407:
396:Manuscripts:
395:
383:
382:than to the
379:
373:
368:
361:
355:
353:
344:
342:
328:
324:
321:Frauengemach
320:
317:
287:: unrelated
276:
248:
246:
230:
220:
210:
182:
176:
171:
164:
157:
150:
143:
136:
133:All' Italia!
132:
125:
121:
115:
101:
80:
79:
78:
24:
18:
1491:Rudolf Ganz
1269:Discography
1265:Adaptations
1161: [
972:archive.org
743:Free scores
725:, 1996, in
691:, 1975 (in
689:G. Schirmer
582:Dedication:
553:Erscheinung
504:Dedication:
483:Dedication:
476:Dedication:
469:Dedication:
462:Dedication:
453:Dedication:
446:Dedication:
434:Title page:
167:(Notturno)
165:Erscheinung
1617:Categories
1557:Kurt Weill
1511:Leo Sirota
1506:Egon Petri
1481:Maud Allan
1359:Orchestral
1300:Arlecchino
1132:, London:
1086:. London:
1073:References
1042:Egon Petri
1036:Letter in
955:, p. 112.
875:Kindermann
759:Recordings
456:Egon Petri
376:Egon Petri
333:bitonality
263:) and the
1453:(JS Bach)
1328:Concertos
1027:, p. 112.
989:, p. 101.
619:Reprints:
607:includes
327:from the
301:chromatic
297:intervals
160:(Walzer)
53:Catalogue
1604:Category
1292:Turandot
1202:(2008).
1140:, 1974)
1128:(1933).
1082:(1985).
1065:, p. 33.
1010:, p. 33.
1002:for his
942:, p. 61.
925:, p. 61.
896:Beaumont
609:Berceuse
500:Berceuse
384:listener
305:melodies
253:Romantic
203:Turandot
172:Berceuse
102:Berceuse
63:Composed
1402:Elegies
1259:Lists:
749:Elegien
277:Elegies
275:of the
271:). The
249:Elegies
237:BV 252a
90:Elegien
81:Elegies
68: (
25:Elegies
1421:(1910)
1413:(1909)
1405:(1908)
1386:(1909)
1378:(1905)
1370:(1897)
1351:(1916)
1343:(1904)
1337:(1878)
1311:(1925)
1303:(1917)
1295:(1917)
1287:(1912)
1276:Operas
1210:
1191:
1171:
1144:
1117:
1094:
1038:German
940:Sitsky
923:Sitsky
908:Sitsky
733:
695:, ed.
659:Title:
636:Title:
613:BV 252
599:Title:
576:Title:
544:Notes:
537:Title:
498:Title:
408:Title:
380:reader
293:chords
289:triads
269:BV 247
261:BV 243
227:BV 258
217:BV 256
207:BV 273
199:BV 248
191:BV 247
106:BV 252
86:German
57:BV 249
1165:]
849:Notes
765:Note:
665:Note:
642:Note:
605:Note:
510:Date:
420:Note:
414:Date:
309:whole
285:tones
281:pedal
1208:ISBN
1189:ISBN
1169:ISBN
1142:ISBN
1115:ISBN
1092:ISBN
731:ISBN
323:and
313:half
311:and
247:The
70:1907
66:1907
1040:to
400:1)
239:).
170:7.
163:6.
156:5.
149:4.
142:3.
131:2.
128:)
120:1.
92:),
1619::
1267:·
1263:·
1187:.
1167:.
1163:de
1113:.
1090:.
1053:^
979:^
915:^
857:^
795:LP
793:;
781:LP
779:;
139:)
94:BV
88::
1243:e
1236:t
1229:v
974:.
844:)
834:)
824:)
817:)
813:(
807:)
803:(
789:(
775:(
699:)
611:(
542:•
267:(
259:(
235:(
225:(
215:(
205:(
197:(
189:(
135:(
124:(
104:(
84:(
72:)
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