Honours End of Year Recital

Verbrugghen Hall

Sydney Conservatorium of Music

9 November 2012, 4:10pm.

Nicholas Young, Piano

Ferruccio BUSONI Sechs Klavierstücke (Six Piano Pieces), Op. 33b (1896)

(1866-1924) I. Schwermut (Melancholy)

II. Frohsinn (Gaiety)

III. Scherzino

IV. Fantasia in modo antico

V. Finnische Ballade (Finnish Ballad)

VI. „Exeunt omnes“

Berceuse, BV252 (from Elegien BV249) (1909)

Toccata (Preludio, Fantasia, Ciaccona), BV287

(1921)

Zehn Variationen über ein Präludium von Chopin

(Ten Variations on a Prelude of Chopin), BV213a

(1922)

2

Critical Notes

It is impossible that [Busoni] should compose: there is not

room enough in a single life for more than one supreme

excellence.1

The author-critic George Bernard Shaw, who became personally acquainted with the

celebrated pianist Ferruccio Busoni, was astounded to discover that Busoni was a

serious composer. For pianists and audiences today who know the legendary figure

only by name and through his transcriptions of Bach, the fact that he wrote seriously

on aesthetics and favoured composition over performance as his “truest form of self-

expression” can still be a surprise.2 A man of lofty intellect and broad reading,

3

Busoni strived to create music which venerated traditions of the past but also

embraced the increasingly chromatic harmonic language of his day. Italian by birth

but having spent most of his life in Germany, Busoni’s free combination of cultural

influences from both national traditions, along with his political ambivalence, were a

constant source of criticism, and this significantly affected the distribution of his work

during his lifetime and the few decades that followed.4

My current research investigates Busoni’s stylistic evolution between 1900-09

as revealed in his essay Sketch of a New Aesthetic, the Piano Concerto Op.39 and

1 George Bernard Shaw, quoted in Ferruccio Busoni, Letters to his Wife, trans. Rosamond Ley (New

York: Da Capo Press, 1975), 289. 2 Edward J. Dent, Ferruccio Busoni: A Biography (London: Eulenburg Books, 1974), 17.

3 A select list of authors and titles from Busoni’s library can be found in Judith Michelle Crispin, The

Esoteric Musical Tradition of Ferruccio Busoni and its Reinvigoration in the music of Larry Sitsky: The

Operas ‘Doktor Faust’ and ‘The Golem’. (Lewiston, New York: The Edwin Mellen Press, 2007), 187-

243. 4 Tamara Levitz, Teaching New Classicality: Ferruccio Busoni's Master Class in Composition

(Frankfurt am Main; New York: P. Lang, 1996), 19-21. See also Martina Weindel, “Ferruccio Busoni

und der Nationalismus,” in Italian Music during the Fascist Period, ed. Roberto Illiano (Turnhout:

Brepols, 2004), 283-99.

3

Elegien BV249/252. However, this recital considers a wider temporal spectrum and

explores works written before, during and after this transition period. The early Six

Piano Pieces, Op. 33b (1896) show the origins of Busoni’s compositional technique.

The Berceuse (1909) represents the stylistic pivot that bridges between this early

period of late Romantic influence and his later, more individual Modernist style found

in the Toccata: Preludio, Fantasia, Ciaccona (1921) and Ten Variations on a Prelude

of Chopin (1922). The recital is therefore a cross-section of Busoni’s compositional

career, a vast output which vindicates the remarks of Alfred Einstein that “if one only

knows Busoni as a musician, one does not know him.”5

Sechs Klavierstücke (Six Piano Pieces), Op. 33b (1896)

I. Schwermuth (Melancholy)

II. Frohsinn (Gaiety)

III. Scherzino

IV. Fantasia in modo antico

V. Finnische Ballade (Finnish Ballad)

VI. Exeunt Omnes

‘I have great successes as a pianist, [...] the composer I conceal

for the present.’ It was not that he had lost faith in himself as a

composer, but ... realized inwardly that he must go through a

new period of study and self-development...6

Thus writes Edward Dent regarding the year 1896, when the Six Piano Pieces were

composed. This set of short works may be considered a representative of Busoni’s

early style, demonstrating a mastery of compositional technique, yet still lacking a

5 Antony Beaumont, Busoni the Composer (London: Faber, 1985), 17.

6 Dent, Ferruccio Busoni: A Biography, 100.

4

convincing sense of originality. Nevertheless, as both Sitsky and Waterhouse have

remarked, they anticipate in brief “prophetic” glimpses the change that was to come.7

Vividly reflecting Busoni’s dual Italian-German personality, the first three

pieces of the set suggest Italian traits, while the last three draw on Germanic

influences.8 (The titles of the pieces, given variously in German and Italian, do not

correspond to the prevailing cultural idiom of each individual work.) Although there

is no unifying principle behind the set as a whole, one can draw distinct relationships

between pieces which allow for a symmetrical interpretation of the cycle (Figure 1).

Italian German

I II III IV V VI

Dance-like Contrapuntal

The first of the set, ‘Schwermut,’ is an Italianate work in spite of its German

title, with textures highly reminiscent of Liszt’s ‘Un Sospiro’ (Example 1a & 1b).

Signifiers such as the use of modal inflections and the doubling of the melody in thirds

confirm the piece’s Italian identity.9 The following two dance pieces, ‘Frohsinn’ and

‘Scherzino,’ are in the salon style, their oscillating scalic flourishes and moto perpetuo

7 John C. G. Waterhouse, “Busoni: Visionary or Pasticheur?,” Proceedings of the Royal Musical

Association, 92nd Sess. (1965-66): 79-93; Larry Sitsky, Busoni and the Piano: The Works, the Writings,

and the Recordings (Westport, Connecticut: Greenwood Press, 1986), 52. 8 This double personality is further discussed by Edward J. Dent in “The Italian Busoni,” trans.

Richard Capell, Monthly Musical Record 41:729 (1 September 1931): 257-60, cited in Marc-André

Roberge, Ferruccio Busoni: A Bio-bibliography (New York: Greenwood Press, 1991), 258. 9 The doubling of melodies in thirds is often associated with Italian music, such as in Mendelssohn’s

Italian Symphony and Chopin’s Barcarolle. See, for example, R. Larry Todd’s commentary in

Mendelssohn: A Life in Music, 277.

Figure 1. Symmetrical Scheme of Six Piano Pieces.

Prologue Epilogue

5

triplets evoking a naïveté and mellifluous charm which Busoni was to renounce in his

later works.

In the two pieces which follow, Busoni’s Germanic passion for the

counterpoint of Bach is revealed. As Sitsky has identified, the ‘Fantasia in modo

antico’ appears to be based on the structures of Bach’s Fantasy and Fugue in A

minor.10

A declamatory chordal opening (correlating with the Fantasy) is followed by

two fugatos (the ‘Fugue’), the second of which features a descending chromatic figure

akin to Bach’s fugal countersubjects. The folk-like tones of the ‘Finnische Ballade’

(Finnish Ballad) may be inspired by Busoni’s stay in the picturesque Finnish region of

Helsingfors during the late 1880s.11

However, even here the exotic makes way for

Bach. Like in the ‘Fantasia in modo antico,’ a second theme is announced and

superimposed onto the first in counterpoint, revealing Busoni’s formidable polyphonic

technique. The comparatively brief ‘Exeunt Omnes’ (‘All leave’), which Sitsky

considers to be “a Schumann-like march,”12

concludes the cycle in positive spirits,

10

Sitsky, Busoni and the Piano: The Works, the Writings, and the Recordings, 52. 11

Dent, Ferruccio Busoni: A Biography, 74. 12

Sitsky, Busoni and the Piano: The Works, the Writings, and the Recordings, 53.

Example 1a. Liszt, ‘Un Sospiro,’ mm. 3-4.

Example 1b. Busoni, Sechs Klavierstücke, I, mm. 2-3.

6

although a brief moment of harmonic tension near its conclusion conveys a

characteristically Busonian uneasiness. The similarity between these dotted rhythms

and those from ‘Schwermut,’ the first work, create a strong feeling of cyclicity and

symmetry in the set as a whole.

The Six Piano Pieces show crucial markers for the future direction of Busoni’s

music. His interest in ethnographical elements, revealed in the ‘Finnische Ballade,’ is

extended in later years towards the Native American culture, in the form of works such

as the Indian Fantasy.13

The unusual scales which he derives from these exotic

influences, featuring here only as isolated phenomena such as in the ‘Scherzino,’ later

become a central component of his pitch collections known as ‘Busoni scales,’ which

are often characterised by augmented second leaps.14

Even from an early age Busoni

shows a predilection for the lower register of the piano and the use of unusual chord

spacings to create a darker timbre, such as in ‘Schwermut’ and ‘Frohsinn.’ This is an

idiosyncrasy which is further intensified in the solo piano compositions to come.

Berceuse (1909)

The Berceuse was first conceived as a stand-alone work. Soon after, it was appended

as the seventh piece to the important set of Elegien (Elegies), and later still, reworked

as the orchestral Berceuse élégiaque.15

Although the piece is quite coarsely divided

into distinct fragments, it is unified by the recurring motive of a rising third which

evokes the swings of a lullaby (motive ‘a’ in Table 1). In the context of Busoni’s

compositional career, and in this particular recital, the Berceuse is a crucial turning

13

Busoni’s interest in the Native Americans, inspired by his pupil Natalie Curtis, is documented in his

letter to Gerda in 22 March 2010, in Busoni, Letters to his Wife, 163. 14

Busoni first formally proposes 113 synthetic scales in the Sketch, 92-93. See also Robert M.

Mason, “Enumeration of Synthetic Musical Scales by Matrix Algebra and a Catalogue of Busoni

Scales,” Journal of Music Theory 14:1 (Spring 1970): 92-126. 15

Beaumont, Busoni the Composer, 115.

7

point between the early and late styles. Busoni experiments with what Leichtentritt

calls “polyphonic harmony”16

by superimposing third-related triads, such as F major

and A minor (Busoni instructs that the sustaining pedal should be held), creating an

ethereal sonority that clearly belongs to the twentieth century and not to late

Romanticism (Example 2). Semitonal voice-leading brings about new harmonies

based on fourths (Example 3), highly reminiscent to those of early Schoenberg and

late Scriabin.17

Measure No. Theme/Motif

1-13 a (rising third motive)

14-19 b

20-35 Interlude

36-47 a1 (variation)

48-55 b1 (variation)

56-58 Interlude

59-66 b2

67-81 a3 (Coda)

16

Hugo Leichtentritt, “Ferruccio Busoni as a Composer,” The Musical Quarterly 3:1 (Jan. 1917): 69-

97. This article discusses the concept in relation to the Berceuse élégiaque, which stretches the

alternation of third-related chords over a longer time period. 17

See, for example, Schoenberg’s Chamber Symphony No. 1 and Scriabin’s Prometheus: The Poem

of Fire.

Example 2. Busoni, Berceuse, mm. 20-21.

Table 1. Thematic structure in Berceuse.

8

Departing from the Romantic exuberance and charms of the Klavierstücke, the

Berceuse avoids blatant emotional display, instructing parenthetically (as if with some

hesitation) to play “(quasi appassionata)” rather than simply “appassionata.”18

While

it is still lyrical, its ambivalent oscillations between tonic major and minor – effected

by the mere “touch of a brush,” as Busoni describes in the Sketch of a New Esthetic of

Music19

– do not allow for the establishment of a definitively positive or negative

Affekt, remaining hauntingly serene. Busoni considered the Berceuse to be “one of

[his] most successful piano pieces,”20

and this work indeed stands as proof of his

creative capabilities, a refutation of the widespread criticism concerning Busoni’s

supposed lack of originality.

18

Ferruccio Busoni, Elegien: Sieben Neue Klavierstücke (Wiesbaden: Breitkopf & Härtel, [1985?]),

52. 19

Ferruccio Busoni, “Sketch of a New Esthetic of Music,” trans. Theodor Baker, in Three Classics in

the Aesthetic of Music (New York: Dover, 1962), 91. 20

Busoni, quoted from Beaumont, Busoni the Composer, 115.

Example 3. Busoni, Berceuse, mm. 36-43.

9

Toccata: Preludio, Fantasia, Ciaccona, BV287 (1921)

The composition of the Toccata coincided with Busoni’s return to Berlin in 1920,

having departed five years earlier with the onset of war. The “anguish and unstable

emotions” brought about by new international political tensions and the prospects of a

changed Berlin (with lowered artistic standards) appears to have directly transferred

into this work.21

Yet despite its nervous energy and neuroticism, the Toccata is a

prime model for an aesthetic concept which Busoni termed “junge Klassizität.”22

The

movement, a return to civilisation following the “barbarism”23

of World War I, has as

its ideal a “return to melody again as the ruler of all voices and all emotions ... as the

bearer of the idea and the begetter of harmony.” This return to melody would result in

a renewed emphasis on polyphony over homophony, which Busoni saw as a necessary

measure for “casting off of what is “sensuous”” and facilitating “the renunciation of

subjectivity” in music (namely, the techniques of Wagner.) Junge Klassizität is not to

be confused with Neo-Classicism. As Busoni clarified, it does not entail a “turning

back” to Classicism, but is rather an art which is “old and new at the same time,”

combining structural forms of the past with the advanced chromatic language of the

present to create an “absolute, distilled” music.24

Like the great toccatas of the great Baroque and Renaissance, Busoni’s

Toccata consists of numerous sections contrasting in character and form, and Winfield

21

Busoni in a letter to Philipp Janarch, quoted from ibid., 286. 22

The term is roughly translated as “young classicism,” as in Ferruccio Busoni, The Essence of Music,

and other Papers, trans. Rosamond Ley (New York: Dover, 1957), 20-21. See also Della Couling,

Ferruccio Busoni: “A Musical Ishmael” (Lanham, Md.: Scarecrow Press, 2005), 350, which offers the

alternative translation “young classicity.” Due to the problems of both translations, I retain the use of

the original German term. 23

Antony Beaumont, “Busoni, Ferruccio.” Grove Music Online. Oxford Music Online.

http://www.oxfordmusiconline.com/subscriber/article/grove/music/04438 (Accessed 5 March 2012). 24

Busoni, The Essence of Music, and other Papers, 20-23.

10

suggests that it most closely resembles the models developed by Frescobaldi.25

The

homage to this tradition can be observed on the score through his tongue-in-cheek

(mis)quotation of Frescobaldi: “Non è senza difficoltà che si arriva al fine.” (“Not

without difficulty does one arrive at the end.”)26

The work commences with a highly

virtuosic Preludio which combines staccato passages with a bass rhythmic fanfare

drawn from Busoni’s opera Die Brautwahl.27

The core section that follows, the

Fantasia, develops rhythmic characteristics of the Preludio in a highly improvisatory

manner over numerous fragmentary episodes. Polyphony becomes the central focus of

this section, with linear voice-leading being the source of the unusual harmonic

movements (Example 4).

A bridge passage outlining the whole-tone scale initiates the transition from the

Fantasia into the dramatic Ciaccona, which bears the same rhythm as Bach’s D minor

Chaconne for Solo Violin ( | ) and features a recurring melodic theme.28

It

returns to the marcato style of the Preludio, and ideas from the preceding two

movements are recombined with the principal Ciaccona theme. This coda in virtuosic

25

George Alexander Winfield, Jr., “Ferruccio Busoni's Compositional Art: A Study of Selected

Works for Piano Solo Composed Between 1907 and 1923.” (PhD diss., Indiana University, 1982), 124-

25. 26

Ferruccio Busoni, Toccata: Preludio – Fantasia – Ciaccona: Busoni-Verz 287. (Wiesbaden:

Breitkopf & Härtel, 19--?), 2. The original Frescobaldi quote is “Non senza fatiga si giunge al fine”

(“Not without effort does one reach the end”), inscribed at the end of Toccata IX from Secondo libro di

toccata ([S.I.]: Harvard University Press, 1950), 21. 27

Beaumont, Busoni the Composer, 282. Specifically, the fanfare is taken from the ‘Ballad of

Lippold the Jew-Coiner.’ 28

Winfield, 136-37. As Winfield notes, Busoni’s chaconne is strictly speaking a passacaglia, but

nevertheless justifiably named since the two were interchangeable. See Alexander Silbiger,

“Chaconne.” Grove Music Online. Oxford Music Online (accessed October 1, 2012).

Example 4. Busoni, Toccata, mm. 100-103.

11

octaves leads to a final restatement of the opening rhythmic fanfare on D major, but

any hopes of a glorious conclusion are dispelled through repetition of the motto

rhythm in A minor (the most distantly related key, which also happens to be the

opening key). Thus, the work ends with the same tension which has prevailed from

the very beginning – the beauty of Latinate form triumphs over fashionable German

‘transformation.’

Zehn Variationen über ein Präludium von Chopin (Ten Variations on a Prelude by

Chopin), BV213a (1922)

As Busoni’s aesthetic outlook radically transformed over time, the composer felt

compelled to create new versions of earlier works to reflect his changing views. The

Ten Variations from the fifth set of Klavierübung (Piano Practice, possibly an

allusion to J.S. Bach’s collection by the same name) is a particularly revealing

example of this procedure in action. While published later than the Toccata, its

material is far older. It is in fact a revision of Busoni’s youthful work Variationen und

Fuge in freier Form (Variations and Fugue in Free Form), Op. 22, an extensive set of

eighteen variations and fugue composed in 1884 inspired by Brahms’s similarly

substantial Variations and Fugue on a Theme by Handel, which also ends with a

fugue.29

When Busoni reviewed his original work thirty-eight years later, his reaction

was congenial – “There isn’t much to ‘patch up’ in them” – yet in the days following,

it appears that he gradually realised weaknesses in its form, and weaknesses of the

theme-and-variations genre itself: “an alternation of fast and slow, minor and major, is

29

Dent notes that this is “the only composition … which shows the direct influence of Brahms.” See

Dent, 54.

12

not yet ‘form’ and even less a plan, an idea.”30

The new version is thus an intriguing

patchwork of the old and new. While some elements and motives have been retained

from their 1884 form, others have been re-worked, sometimes drastically. Besides the

theme which is essentially presented verbatim, a more cohesive and unified structure

is implemented, whereby the eighteen variations of the original version are cut to ten,

re-ordered (Table 2), and their musical material condensed. This also allows ideas to

develop in an organic fashion more closely aligned to Busoni’s new ideals.

30

Busoni in a letter to Frau Kwasthodapp on 20 April 1922, quoted in Beaumont, Busoni the

Composer, 297.

Variations and Fugue in Free Form, BV213

Ten Variations on a Prelude of Chopin, BV213a

Theme Theme (new introduction appended)

Variation 1 Variation 1 (altered tempo from Grave to Alla breve)

Variation 2 Variation 2 (some changes in figuration)

Variation 3 *Variation 3 (new material)

Variation 4 Variation 4 (identical)

Variation 5 Variation 5 (chordal passages altered)

Variation 6 Variation 6 (registrations widened, 2nd half new material)

Variation 7 Variation 7 (different key; new Busoni scale passages)

Variation 8 Variation 8 (Fugato, in compound quadruple time)

Variation 9 *Variation 9 (‘Hommage à Chopin) (new material)

Variation 10 Variation 10 (rhythms and texture altered, new coda)

Variation 11

Variation 12

Variation 13

Variation 14

Variation 15

Variation 16

Variation 17

Variation 18

Fugue (in common time)

Table 2. Reordering of variations in the original and revised versions of Busoni’s Chopin Variations.

13

As a result of the old-new synthesis, the harmonic language of the work is

somewhat inconsistent. Polyphony, where present, plays a similar role as in the

Toccata in effecting unusual harmonic shifts, but its use is more intermittent. Busoni

was working on his last major composition, the opera Doktor Faust, during this time,31

and its influence can be observed in the newly-composed introduction. Preceding the

theme proper, this four-bar passage is written in three-part canon. A “Faustian”32

quality is evoked through the use of free tonality, whereby the vertical harmonies that

result from the canon, though heavily chromatic, still allude to tonal centres. While the

technique of modal mixture is carried over from the 1884 original, Busoni also freely

superimposes pitch collections and utilises false relations to produce highly novel

washes of harmonic colour, such as in the seventh variation (Example 5), anticipating

the polymodal chromaticism of Bartók.33

The rather four-square fugue of the 1884 version, derived from Brahmsian

models, is replaced by a lighter scherzo fugato (the eighth variation), which Sitsky

considers to be a “burlesque” of the fugal form.34

At the conclusion of the fugato, the

“Hommage à Chopin” delightfully embroiders the theme in the rhythms of the waltz,

possibly with reference to the famous ‘Minute’ Waltz in D (compare Example 6a &

31

Roberge, Ferruccio Busoni: A Bio-bibliography, 44. 32

Beaumont, Busoni the Composer, 298. 33

The term and concept ‘polymodal chromaticism’ is introduced in Béla Bartók, “Harvard Lectures,”

in Béla Bartók Essays (London: Faber & Faber, 1976): 354-92. 34

Sitsky, Busoni and the Piano: The Works, the Writings, and the Recordings, 59.

Example 5. Busoni, Zehn Variationen über ein Präludium von Chopin, m. 202.

14

6b).35

The parody highlights the complex relationship between Busoni and Chopin’s

music, for while Busoni revered the visionary nature of Chopin’s Preludes and the

large-scale structures of the Ballades, he held the conventionally popular works such

as the waltzes in far lower esteem.36

The intent, nevertheless, is humorous rather than

malicious, perhaps even a mischievous flexing of proverbial compositional ‘muscles.’

Whereas the Six Piano Pieces display Busoni’s beginnings as a master of

technique, the Ten Variations present Busoni’s endings as a champion of aesthetic

self-conviction. Adding an extra dimension to the mystical serenity first explored in

the Berceuse, in these variations Busoni reveals the additional ironic detachment and

35

My thanks to Daniel Herscovitch for this observation. 36

Dent, Ferruccio Busoni: A Biography, 260. For a detailed commentary on Busoni’s use of parody

see Levitz, Teaching New Classicality: Ferruccio Busoni's Master Class in Composition, 152-157.

Example 6a. Chopin, Waltz Op.64 No.1, mm. 1-8.

Example 6b. Busoni, Zehn Variationen über ein Präludium von Chopin, mm. 250-60.

(upward unbeamed quaver stems added to denote theme)

15

“playfulness” which characterises his late style, reflected by the greater prominence of

dance-like triplet rhythms and triple meter.37

In accordance with his Lisztian self-

revisionist aesthetic, even the Ten Variations was not Busoni’s final say on Chopin.

The piece was again reworked in the second edition of the Klavierübung in 1925 with

the seventh variation (a brooding Fantasia, in tempo libero) cut, and Beaumont

considers this to be the “definitive edition.”38

However, in my opinion, this section is

not of such unsound quality to warrant exclusion – on the contrary, it provides a

welcome contrast before the scherzo-fugato, Chopinesque waltz and tarantella

variations bring the work to an extrovert and thrilling (one might say

Mephistophelean) conclusion.

37

Beaumont, Busoni the Composer, 298-99. 38

ibid.

16

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———. Ferruccio Busoni: Selected Letters. Translated by Antony Beaumont.

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———. Letters to His Wife. Translated by Rosamond Ley. New York: Da Capo Press,

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———. Sechs Klavierstücke. Frankfurt, New York, London: C. F. Peters, 1982.

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17

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