Klavierübung (Busoni) - AbsoluteAstronomy.com

The Klavierübung by the Italian pianist

Pianist

A pianist is a musician who plays the piano. A professional pianist can perform solo pieces, play with an ensemble or orchestra, or accompany one or more singers, solo instrumentalists, or other performers.-Choice of genres:...

-composer

Composer

A composer is a person who creates music, either by musical notation or oral tradition, for interpretation and performance, or through direct manipulation of sonic material through electronic media...

Ferruccio Busoni

Ferruccio Busoni was an Italian composer, pianist, editor, writer, piano and composition teacher, and conductor.-Biography:...

, is a compilation of piano exercises and practice pieces, including transcriptions

Transcription (music)

In music, transcription can mean notating a piece or a sound which was previously unnotated, as, for example, an improvised jazz solo. Further examples include ethnomusicological notation of oral traditions of folk music, such as Béla Bartók's and Ralph Vaughan Williams' collections of the national...

of works by other composers and original compositions of his own.

Busoni worked on the Klavierübung at various times during the last seven years of his life, and with it, he hoped to pass on his accumulated knowledge of keyboard technique. The Klavierübung is not a comprehensive or systematic graduated course of study, nor is it intended for beginning or intermediate students. Instead it assumes the student has mastered standard piano technique and has reached a virtuoso level. Busoni proceeds by adding refinements, short cuts, and unusual solutions for pianistic problems encountered in a performing artist's repertoire. The included exercises and examples reflect Busoni's own special, but diverse, interests and abilities.

Assessment

Edward J. Dent, author of the first definitive biography of Busoni, had this to say about the exercises and studies in the Klavierübung: "...they are all extraordinarily interesting and stimulating. They are interesting too as helping to elucidate some of Busoni's other compositions, for the studies show how certain of his harmonic devices grew out of purely pianistic principles based on definite positions of the hands on the keyboard. Every one of the studies has genuine musical originality, and even the exercises to be repeated in all keys are a good deal more musical than such forms of torture are generally made to be."

Publication of the first edition

The Klavierübung was first published by Breitkopf & Härtel

Breitkopf & Härtel

Breitkopf & Härtel is the world's oldest music publishing house. The firm was founded in 1719 in Leipzig by Bernhard Christoph Breitkopf . The catalogue currently contains over 1000 composers, 8000 works and 15,000 music editions or books on music. The name "Härtel" was added when Gottfried...

in separate parts beginning in 1918. Part 2 appeared in 1919, and parts 3 and 4 two years later. The fifth, and what was to be the final part, appeared in 1922. Kindermann, who prepared the first extensive catalog of Busoni's works in 1980, refers to this "First Edition" as Klavierübung in fünf Teilen [Piano Tutorial in Five Parts], and Breitkopf & Härtel later republished a collected edition under this name ca. 1996.

Original plan of the work

Part 1 (Sechs Klavierübungen und Präludien) consists of six tutorials (numbered I - VI). Tutorials I to V were written in three days (10–12 September 1917), and tutorial VI one month later. The first piece of Part 2 was written on 7 November 1917, and the remainder from 4 to 10 June 1918. It consists of three tutorials (VII to IX).

Each tutorial begins with exercises and moves on to short original pieces and adaptions or transcriptions of excerpts from the repertory. For instance, the first tutorial starts with traditional scales

Musical scale

In music, a scale is a sequence of musical notes in ascending and descending order. Most commonly, especially in the context of the common practice period, the notes of a scale will belong to a single key, thus providing material for or being used to conveniently represent part or all of a musical...

(although the fingerings are unorthodox), then adds two excerpts which require power and speed: the first is from Liszt's Totentanz, and the second is based on two bars in Busoni's "Turandots Frauengemach" [Turandot's Bedchamber] (Book 4 from Elegien

Elegies (Busoni)

Elegies by the Italian composer Ferruccio Busoni 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 Berceuse...

, BV 249). This is followed by two original compositions: a 16-bar "Tempo di Valse" and a 33-bar "Preludio," both of which emphasize legato scales at moderate speed. Busoni frequently lists at the bottom one or more pieces from the repertoire as examples (in German: Beispiele) suitable for further study. In the case of the "Preludio," the Beispiel is Alkan's

Charles-Valentin Alkan

Charles-Valentin Alkan was a French composer and one of the greatest virtuoso pianists of his day. His attachment to his Jewish origins is displayed both in his life and his work. He entered the Paris Conservatoire at the age of six, earning many awards, and as an adult became a famous virtuoso...

first etude from Etudes dans tous les tons majeurs, (Op. 35).

The first tutorial exemplifies a blueprint which is used for the subsequent tutorials, each emphasizing a different aspect of piano technique. These include, in addition to the "simple" scales of the first tutorial: forms derived from scales (chords incorporated into scales); chromatic

Chromatic scale

The chromatic scale is a musical scale with twelve pitches, each a semitone apart. On a modern piano or other equal-tempered instrument, all the half steps are the same size...

"sliding-finger" (or "sixth-finger") technique; repeated notes; arpeggio

Arpeggio

An arpeggio is a musical technique where notes in a chord are played or sung in sequence, one after the other, rather than ringing out simultaneously...

s and broken chords; examples of "three-hands"; trills

Trill (music)

The trill is a musical ornament consisting of a rapid alternation between two adjacent notes, usually a semitone or tone apart, which can be identified with the context of the trill....

; examples with arpeggios; and further examples of "three hands."

Difficulties completing

Because of distractions, including ill health, and other concerns, not least being the work on his life-long masterpiece, the opera Doktor Faust

Doktor Faust

Doktor Faust is an opera by Ferruccio Busoni with a German libretto by the composer himself, based on the myth of Faust. Busoni worked on the opera, which he intended as his masterpiece, between 1916 and 1924, but it was still incomplete at the time of his death. His pupil Philipp Jarnach finished it...

(unfinished at the time of his death in 1924), many planned components of the Klavierübung were delayed or never fully realized. For instance, the foreword was not written until July 1920, and did not appear until the publication of Part 3 in 1921. Part 2 contains material which should have been included in Part 1, in tutorials V [arpeggios] and VI ["for three hands"]. Part 3 presents additional material appropriate to Part 1, as appendices. A "Chromaticon" for Part 4, mentioned in a footnote to the Foreword, had to be abandoned, and was hurriedly replaced with his edition of Eight Etudes by Cramer (BV B 53) first published in 1897. Part 5 likewise consists of already existing pieces. Perhaps, if Busoni had lived longer, he would have included much more. For example, there are no tutorials on the very important technique of pedalling

Piano pedals

Piano pedals are foot-operated levers at the base of a piano which change the instrument's sound in various ways. Modern pianos usually have three pedals, from left to right, the soft pedal , the sostenuto pedal , and the sustaining pedal...

, for which he was particularly well known.

Publication of a second edition

From December 1923 to January 1924 Busoni did manage to reorganize and enrich the material for a second edition of 284 pages. Entitled Klavierübung in zehn Büchern [Piano Tutorial in Ten Books], it was published posthumously in 1925 as Volume VIII of the Bach-Busoni Edition. Only a small number of copies of the second edition were printed, and until recently, it has been a major rarity. Fortunately, it is now available online (see, for example, this page at the International Music Score Library Project

International Music Score Library Project

The International Music Score Library Project , also known as the Petrucci Music Library after publisher Ottaviano Petrucci, is a project for the creation of a virtual library of public domain music scores, based on the wiki principle...

Significance of the second edition

The second edition is particularly important, since it contains all Busoni's last piano compositions. Two of these are not found elsewhere and are of special interest, since they were intended as source material for the unfinished final scene of Doktor Faust

Doktor Faust

1) "Veloce e leggiero" [the final piece in Book 5 ("Trills")]

2) "Study for the Third Pedal" [No.7 from Seven Short Pieces for the Cultivation of Polyphonic Playing, Book 9]

Annotated listing of contents

Busoni did not typically disclose the source of the extracts on which he based many of the pieces in the Klavierübung. They are often simply titled, for example, "Nach Bach" or "Nach Schubert." Fortunately, both Beaumont and Sitsky have provided fairly detailed descriptions of the contents of both the first and second editions. Some of this information is inserted here as annotations between square brackets.

Part 1: Six Piano Tutorials and Preludes

Sechs Klavierübungen und Präludien (der Klavierübung erster Teil.) (score)

I. [Scales]

[exercises and pieces employing unusual and unorthodox fingerings: the thumb passing under the fifth finger; the fifth finger passing over the thumb; or not using the thumb at all]

[The following two sections, (a) and (b), also appear in the Second Edition, Book 1 (Scales)]

(a) Presto, pp. 3-4.

[4 exercises using the thumb; 3 exercises not using the thumb]

(b) [2 exercises with hands in contrary motion], pp. 4-5.

[The following three sections, (c) to (e), are omitted in the Second Edition.]

Liszt

Liszt is a Hungarian surname. Notable persons with that surname include:* Franz Liszt , Hungarian composer and pianist* Adam Liszt , father of Franz Liszt* Anna Liszt , mother of Franz Liszt...

.) Allegro, p. 5.

[excerpt from the final cadenza in Liszt's Totentanz

Totentanz (Liszt)

Totentanz : Paraphrase on Dies irae , S.126, is the name of a symphonic piece for solo piano and orchestra by Franz Liszt, which is notable for being based on the Gregorian plainchant melody Dies Irae as well as for daring stylistic innovations...

, see p. 70 of the Liszt score (Sitsky, p. 166)

[Busoni also published an edition of Totentanz, BV B 72, which is based on an earlier manuscript of Liszt's and includes a De Profundis section.] (Sitsky, pp. 226-230)

(d) Allegretto, p. 6.

[scales in alternating hands, broken chords in the other hand]

[based on two measures from the final page of Turandot's Frauengemach, No.4 from Busoni's Elegien

Elegies (Busoni)

, BV 249 (score)] (Beaumont, p. 303)

(e) Tempo di Valse, p. 6.

(f) Preludio. Allegro [in E major], p. 7.

[This piece also appears in the Second Edition, Book 9, as No.1 in Sieben kurze Stücke zur Pflege des polyphonen Spiels.]

Beispiel: Alkan

Charles-Valentin Alkan

, Etudes dans tous les tons majeurs, [Op. 35] No.1 (score)

II. [Chords based on scale patterns]

[step-wise movement with incorporated chords]

[Tutorial II also appears in the Second Edition, Book 2 (Forms derived from scales), section (a)]

(a) [Extended exercise], pp. 8-9.

Beispiele: Weber, Sonate C dur, [Op. 24] I. [Allegro] (score)

Liszt

Liszt is a Hungarian surname. Notable persons with that surname include:* Franz Liszt , Hungarian composer and pianist* Adam Liszt , father of Franz Liszt* Anna Liszt , mother of Franz Liszt...

, Carillon, aus "der Weihnachtsbaum" [S.186/6] (score)

(b) Preludio: Allegro festivo, p. 10.

[begins in D flat major and ends in C major]

Beispiel: Chopin, Fantasie [Op. 49] (score)

III. [Chromatic "sliding-finger" technique]

["sixth finger" technique of sliding from black to white key in chromatic passages]

[Tutorial III also appears in the Second Edition, Book 2 (Forms derived from scales), section (b)]

(a) [7 exercises on various double chromatics], pp. 11-12.

(b) Preludio (Andantino), pp. 12-13.

[alternating crossing hands: sliding one, two, three, four fingers simultaneously; both hands, similar motion, outer fingers held, inner sliding]

Beispiel: Liszt, Mazeppa (S.139/4) (score)

(d) Preludio (Tempo di Valse moderato), p. 14.

(e) Allegro moderato [exercise, in 6/8], pp. 14-15.

IV. [Repeated notes]

[Tutorial IV also appears in the Second Edition, Book 2 (Forms derived from scales), section (c)]

(a) Schema with eight variants, pp. 16-18.

[repeated note techniques, in various patterns of quarter, triplet, and sixteenth notes]

(b) (Nach Schubert

Franz Schubert

Franz Peter Schubert was an Austrian composer.Although he died at an early age, Schubert was tremendously prolific. He wrote some 600 Lieder, nine symphonies , liturgical music, operas, some incidental music, and a large body of chamber and solo piano music...

-Liszt

Liszt

Liszt is a Hungarian surname. Notable persons with that surname include:* Franz Liszt , Hungarian composer and pianist* Adam Liszt , father of Franz Liszt* Anna Liszt , mother of Franz Liszt...

), p. 18

[excerpt from Auf dem Wasser zu singen, D 774, tr. Liszt, 12 Lieder von Franz Schubert, S.558/2 (score)] (Sitsky, p 243)

Beispiele: Chopin, Prelude Gis moll [in G-sharp minor, Op.28, No.12]. (score)

Liszt, Schuberts "Auf dem Wasser zu singen" [S.558/2]. (score)

Liszt, Au bord d'une source

Années de Pèlerinage

Années de pèlerinage is a set of three suites by Franz Liszt for solo piano. Liszt's complete musical style is evident in this masterwork, which ranges from virtuosic fireworks to sincerely moving emotional statements. His musical maturity can be seen evolving through his experience and travel...

. (S.160/4) (score)

Liszt, Tannhäuser

Tannhäuser

Tannhäuser was a German Minnesänger and poet. Historically, his biography is obscure beyond the poetry, which dates between 1245 and 1265...

-Ouverture. (S.442 (score)

[based on bars 11 and 12 of the Indian Diary BV 267, No.1] (Sitsky, p 243)

Beispiel: Busoni, Indianisches Tagebuch, Nr. 2. (score)

(d) (Nach Auber

Daniel Auber

Daniel François Esprit Auber was a French composer.-Biography:The son of a Paris print-seller, Auber was born in Caen in Normandy. Though his father expected him to continue in the print-selling business, he also allowed his son to learn how to play several musical instruments...

-Liszt

Liszt

Liszt is a Hungarian surname. Notable persons with that surname include:* Franz Liszt , Hungarian composer and pianist* Adam Liszt , father of Franz Liszt* Anna Liszt , mother of Franz Liszt...

) Alla Tarantella. , pp. 20-21.

[excerpt from Tarantelle di bravura dàprès la Tarantelle de La muette de Portici

La muette de Portici

La muette de Portici originally called Masaniello, ou La muette de Portici, is an opera in five acts by Daniel Auber, with a libretto by Germain Delavigne, revised by Eugène Scribe...

, S.386] (Sitsky, p 243)

Beispiel: Liszt, Tarantella di Bravura sur "la Muette de Portici". (score)

V. [Arpeggios (broken chords)]

[Tutorial V also appears in the Second Edition, Book 3 (broken chords), sections (a) - (i)]

(a) [5 arpeggio exercises, thumb and fifth finger passing over and under each other], pp. 22-23.

(b) Prestissimo; stretto, pp. 23-25.

[4 extension arpeggio exercises]

Beispiele: Chopin, Etude Op. 10 Nr. 1

Étude Op. 10, No. 1 (Chopin)

Étude Op. 10, No.1 in C major is a study for solo piano composed by Frédéric Chopin in 1829. It was first published in 1833 in France, Germany, and England as the first piece of his Études Op. 10. This study in reach and arpeggios focuses on stretching the fingers of the right hand...

. (für die r. H.) (score)

Henselt, "Orage, tu ne saurais m'abattre". (für die l. H.) [12 Études caractéristiques, Op. 2, No.1] (score)

Chopin, Prélude Es dur. [Op. 28, No.19] (score)

Liszt, Vision

Transcendental Etude No. 6 (Liszt)

Franz Liszt's Transcendental Etude No. 6 in G minor "Vision" is the sixth of his twelve Transcendental Etudes. It is a study of the extensions of the hand, hands moving in opposite directions, arpeggiated double notes, and tremolos....

. [S.139/6] (score)

Bach-Busoni, Wohltemperiertes Klavier I, Varianten zu den Präludien in D moll und B dur [Nos.6 & 21[ (score)

Bạch

Bạch is a Vietnamese surname. The name is transliterated as Bai in Chinese and Baek, in Korean.Bach is the anglicized variation of the surname Bạch.-Notable people with the surname Bạch:* Bạch Liêu...

), p. 25.

[exercise based on Prelude No.1, BWV 846, from the Well-Tempered Clavier, Book I] (Sitsky, p 203)

(d) [see Part 3, section (m) "Appendix to tutorial V."]

(e) (Nach Beethoven). Allegretto, pp. 26-27.

[exercise based an excerpt of the Waldstein

Piano Sonata No. 21 (Beethoven)

The Piano Sonata No. 21 in C major, Op. 53, also known as the Waldstein, is considered to be one of Beethoven's greatest piano sonatas, as well as one of the three particularly notable sonatas of his middle period . The sonata was completed in the summer of 1804...

sonata (beginning at bar 61 of the Rondo Allegretto; score).] (Sitsky, p 278)

(f) [Contrary motion extension study], p. 28.

[this exercise includes some big stretches](Sitsky, p 167

(g) Allegro vivace, p. 29.

[contrary-similar motion combined]

(h) [Extended broken octaves], pp. 30-31.

Beispiele: (for die linke Hand) Rubinstein

Anton Rubinstein

Anton Grigorevich Rubinstein was a Russian-Jewish pianist, composer and conductor. As a pianist he was regarded as a rival of Franz Liszt, and he ranks amongst the great keyboard virtuosos...

Etüde Es dur, 6 Etudes, Op. 23, No.4 in E-flat major (score)

Busoni, Indianisches Tagebuch, No.4. (score)

(i) Preludio. Allegro moderato, pp. 32-33.

["Rather charming...in 3/2, with stretches in both hands."] (Sitsky, p 267)

VI. [Examples of "À trois mains"]

[Tutorial VI also appears in the Second Edition, Book 4 "For Three Hands" as sections (a) - (c)]

[Piano music "à trois mains" ("for three hands") combines three musical lines (written on three staves), which sounds as though it is played by three hands, but nevertheless is actually played by two.]

(a) Preludio. Alla Tarantella, pp. 34-35.

[short piece based on the middle (Allegro) section of All'Italia (no.2) from Elegien

Elegies (Busoni)

, BV 249] (score)

Beispiel: Liszt, Norma-Fantasie. [Réminiscences de Norma, S.394] (score)

(b) Nach Offenbach

Jacques Offenbach

Jacques Offenbach was a Prussian-born French composer, cellist and impresario. He is remembered for his nearly 100 operettas of the 1850s–1870s and his uncompleted opera The Tales of Hoffmann. He was a powerful influence on later composers of the operetta genre, particularly Johann Strauss, Jr....

. Barcarole, pp. 36-37.

[transcription (score) of the Barcarole from the Tales of Hoffman] (Sitsky, p 289; Beaumont, p. 303)

[excerpt from the fifth movement of the C-sharp minor Quartet Op. 131

String Quartet No. 14 (Beethoven)

The String Quartet No. 14 in C minor, Op. 131, by Ludwig van Beethoven was completed in 1826. About 40 minutes in length, it consists of seven movements to be played without a break, as follows:#Adagio ma non troppo e molto...

(score), transcribed for piano; consists of the first 24 bars, jumps to the fermata before the "a tempo" at bar 44 and proceeds to the cadence at the beginning of the first ending at bar 65] (Sitsky, p 278)

Beispiele: Schubert-Liszt, Das Sterbeglöcklein.

[Schubert song, D.871, transcribed for solo piano]

[No.3 from Liszt's Sechs Melodien (6 Melodies), S.563]

Liszt, Valse a capriccio sur Lucia e Parisina (Erste Fassung) [S.401]

Busoni, Concerto (score)

Part 2: Three Piano Tutorials and Preludes

Drei Klavierübungen und Präludien (der Klavierübung zweiter Teil.) (score)

VII. [Trills]

[Tutorial VII also appears in the Second Edition, Book 5 "Trills", sections (a) to (g).]

(a) Moderato, pp. 2-4.

[3 extended exercises in trills, forming one "preludio"]

(b) Nach Bach

Bạch

. Andante, pp. 5-7.

[Variation 28 from Goldberg Variations

Goldberg Variations

The Goldberg Variations, BWV 988, is a work for harpsichord by Johann Sebastian Bach, consisting of an aria and a set of 30 variations. First published in 1741, the work is considered to be one of the most important examples of variation form...

, BV B 35 (score)] (Sitsky, p 203)

Beispiele: Beethovens Sonaten Op. 53 (score), Op. 109 (score) und Op. 111 (score).

[based on part of the fugue from the 'Hammerklavier' Sonata, Op. 106

Piano Sonata No. 29 (Beethoven)

Ludwig van Beethoven's Piano Sonata No. 29 in B flat major, Op. 106 is a piano sonata widely considered to be one of the most important works of the composer's third period and among one of the great piano sonatas...

]

[The trills are written out and fitted with the other parts.] (Sitsky, pp. 278-279)

Beispiel: Vergleiche die ganze Fuge aus Beethovens Sonate Op. 106. (score)

(d) Preludio (ohne den 3. Finger [without the third finger]). Moderato alla breve, pp. 10-11.

Beispiele: ¹⁾ ohne den 4. Finger: Chopin, Etudes

Études (Chopin)

The Études by Frédéric Chopin are three sets of solo studies for the piano, There are twenty-seven overall, comprising two separate collections of twelve, numbered Opus 10 and 25, and a set of three without opus number.-Composition:...

Op. 25 F dur [No.3] (score),

ohne den 3. und 4. Finger: Chopin, Etudes Op. 10 As dur [No.10] (score).

²⁾ für die wechselnden Sekunden intervalle: Liszt's "Feux Follets

Transcendental Etude No. 5 (Liszt)

Transcendental Étude No. 5 in B-flat "Feux follets" is the fifth etude of the set of twelve Transcendental Etudes by Franz Liszt.- Difficulties :...

" [Transcendental Etude No.5, S.139/5 (score)]

(e) Nach Gounod. Andante con moto, pp. 12-14.

[Busoni cadenza to Liszt-Gounod Valse de l'Opera Faust, S.407]

[begins at bar 24 of the Andantino (p. 9) of the Liszt score

[The Andantino section is based on the vision of Gretchen from Act 1.] (Beaumont, p. 303)

[Egon Petri

Egon Petri

Egon Petri was a classical pianist.-Biography:Petri's family was Dutch and he was born a Dutch citizen, but he was born in Hanover in Germany and was brought up in Dresden. His father was a professional violinist who taught his son that instrument. Petri played in the Dresden Court Orchestra and...

's recording of this piece uses the Busoni cadenza.] (Sitsky, p. 240)

[4 measures for returning from Busoni's cadenza to the "Allegro vivace assai" of the Faust Waltz are provided by Sitsky on p 242.]

Beispiele: Faust-Walzer (score)

Die Vogelpredigt [S.175/1] (score)

Gondoliera [S.162/1] aus: Venezia e Napoli (Liszt) (score)

(f) Preludio. Allegro, pp. 15-17.

["an effective preludio...with straightforward trill decoration running through it"] (Sitsky, p 168)

(g) Nach Liszt

Liszt

Liszt is a Hungarian surname. Notable persons with that surname include:* Franz Liszt , Hungarian composer and pianist* Adam Liszt , father of Franz Liszt* Anna Liszt , mother of Franz Liszt...

. Andantino, pp. 18-21.

[theme from Gondoliera (from Liszt's Venezia e Napoli], score) with 3 variations] (Sitsky, p 243)

VIII. [Examples with arpeggios]

[Tutorial VIII also appears in the Second Edition, Book 3 "Chordal (broken chords)", sections (j) to (l).]

(a) Nach Beethoven. Allegro, pp. 22-23.

[exercise based on a 2-bar excerpt from the 4th movement of Sonata, Op. 26

Piano Sonata No. 12 (Beethoven)

Ludwig van Beethoven composed his Piano Sonata No. 12 in A-flat major, Op. 26 in 1800–1801, around the same time as he completed his First Symphony...

(with six example variants)] (Sitsky, p 278; Beaumont, p. 303)

Beispiel: Sonate Op. 26. [Sonata No.12 "Funeral March"] (score)

Beispiel: Alkan

Charles-Valentin Alkan

, Etudes dans les tons majeurs: C dur Stück. [Op. 35, No.4] (score)

(b) Preludio. Andante tranquillo, pp. 24-25.

[excerpt based on Busoni's Improvisation on "Wie wohl ist mir" for two pianos (BV 271; score), beginning at bar 10] (Beaumont, p. 303)

[After 2 bars of introduction the piece is essentially identical to the 28-bar Intermezzo in A-flat major from Busoni's Fourth Ballet Scene (first version of 1892, BV 238; score); it then modulates into a new 24-bar middle section, and finally returns to A-flat major in the 19-bar conclusion.] (Beaumont, p. 303)

Beispiele: Chopin, Prélude Fis moll. [Prelude in F-sharp minor, Op.28, No.8] (score)

Liszt, Waldesrauschen

Zwei Konzertetüden

Two Concert Études is a set of two piano works by Franz Liszt.It consists of Waldesrauschen and Gnomenreigen ....

(S.145, No.1) (score)

Liszt, Dante-Sonate

Dante Sonata

Après une Lecture de Dante: Fantasia quasi Sonata is a piano sonata in one movement, completed by Hungarian composer Franz Liszt in 1849. It was first published in 1856 as part of the second volume of Années de Pèlerinage...

, Mittelsatz. [S.167, No.7] (score)

IX. A second group for tutorial VI ["three hands"]

[Tutorial IX also appears in the Second Edition, Book 4 "For Three Hands", sections (d) to (f).]

(a) Perpetuum mobile et infinitum. Studie nach Bach (aus "an die Jugend"). Allegro non troppo, pp. 30-31.

[An endlessly repeating 24-bar loop extracted from the "Fuga figurata" of Book 2 of Busoni's An die Jugend

An die Jugend

An die Jugend is a sequence of pieces of classical music for solo piano by Ferruccio Busoni.- Plan of the work :The collection was written June–August 1909 and consists of four volumes, the last with an epilogue. It was published later in the same year by Zimmermann of Leipzig under four separate...

, BV 254 (score). The piece combines themes from the prelude and the fugue of Bach's Prelude and Fugue No.5 in D major (BWV 850) from the Well-Tempered Clavier, Book 1 (score)]

(b) Nach Schubert, pp. 32-33.

[16-bar excerpt beginning just before bar 57 of Liszt's transcription of Schubert's song Erlkönig

Der Erlkönig

Der Erlkönig is a poem by Johann Wolfgang von Goethe. It depicts the death of a child assailed by a supernatural being, the Erlking or "Erlkönig"...

in 12 Lieder von Franz Schubert, S.558/4 (score)] (Sitsky, p 293)

[excerpt, from the 2nd movement of Busoni's Concerto Op. XXXIX

Piano Concerto (Busoni)

The Piano Concerto in C major, Op. 39 , by Ferruccio Busoni, is one of the largest works ever written in this particular genre. The concerto is in five movements, the last of which also utilizes a male chorus singing words from the final scene of the verse drama Aladdin by Adam Oehlenschläger.The...

, BV 247, p. 45 of the Egon Petri two-piano reduction

Part 3: Staccato

Lo Staccato. (der Klavierübung dritter Teil.) (score)

[The following sections (a) to (j), also appear in the Second Edition, Book 6 "Staccato".] An die Musikschule und das Konservatorium zu Basel, p. 3

[To the Music School and Conservatory of Basel]

[Foreword by Ferruccio Busoni, dated Zurich, July 1920.]

Vivace Moderato, con precisione, pp. 4-7.

["...hectic and difficult study in staccato chords...."] (Sitsky, p 169)

Variations-Studie nach Mozart, 1, pp. 8-9.

[transcription (score) of the "Serenade" from Don Giovanni]

[This piece was played frequently by Egon Petri

Egon Petri

as an encore.] (Sitsky, p 264)

Variations-Studie nach Mozart, 2, pp. 10-15.

[slightly altered versions the Giga and Variazione from Book 3 of An die Jugend

An die Jugend

, BV 254 (score); the Bolero is cut] (Sitsky, pp. 264-266)

Motive. Allegro risoluto, pp. 16-18.

[staccato study with alternating-hands]

["a sequential study employing various intervals, including bars of consecutive seconds"] (Sitsky, p. 169)

Preludio. Quasi presto, arditamente, pp. 19-21.

[Preludio from Busoni's Toccata, BV 287 (score)]

Nach Mendelssohn. Vivace assai, pp. 22-23.

[transcription of the Presto from the Mendelssohn-Liszt Wedding March & Elfin Chorus, S.410 (score)] (Sitsky, p 243)

Nach Bizet. Allegro deciso, pp. 24-25.

[consists of the first 68-bars of Busoni's Kammer Fantasie über Carmen, BV 284 (score) with 6-bars added to provide an ending] (Sitsky, p 279)

Allegro, pp. 26-29.

"...another fierce-looking study in staccato chords...." (Sitsky, p 170)

Beispiele: Weber, Momento capriccioso (score)

Schumann, Toccata (score)

Rubinstein, Etüde C dur [Op.23, No.2] (score)

Mozart-Liszt, Don Juan-Fantasie, Finale (Ausgabe Busoni) (score)

Liszt, La Campanella (Ausgabe Busoni) (score)

Liszt, Galop chromatique

Liszt, Tarantella di Bravura (score)

Alkan, Etüde majeur No.12 (score)

Cramer-Busoni, Etüden, II. Heft (score)

Busoni, Fugen-Etüde, Op. 16 [No.5] (score)

Busoni, Turandots Frauengemach

Elegies (Busoni)

(BV 249, No.4] (score)

Busoni, Indianisches Tagebuch,Nr. 2. [BV 267, No.2] (score)

Busoni, IV. Ballet-Szene (Galopp). [BV 238a, No.2] (score)

Transcriptions-Studie nach Liszt. Quasi Galopp, sempre da Capo, pp. 30-31.

[60-bar indefinitely repeating excerpt from Busoni's piano transcription of Liszt's Mephisto Waltz for orchestra (S.110), BV B 61 (beginning on p. 27 of the complete score)] (Sitsky, p 243)

[The following two sections (k) and (l) also appear in the Second Edition, Book 10 "Etudes after Paganini-Liszt".] Variations-Studie nach Paganini-Liszt, 1. [Vivo], pp.32-36.

[Busoni's concert transcription of Liszt's Paganini Etude No.4 "Arpeggio," BV B 74 (score). In this edition the Liszt version is omitted, and the original tempo indication "Vivo" was inadvertently removed.] (Sitsky, p 243)

Variations-Studie nach Paganini-Liszt, 2. Vivace moderato tutto staccato, pp. 37-44.

[Busoni's concert transcription of Liszt's Paganini Etude No.6 "Thema mit Variationen," BV B 67 (score). This transcription was first published by Breitkopf & Härtel

Breitkopf & Härtel

in 1914. That edition includes the two Liszt versions printed on staves above Busoni's transcription, and the Paganini original, below. In this edition the Liszt and Paganini versions are omitted.]

[The following section (m) also appears in the Second Edition, Book 3 "Chordal (broken chords" as section (d).] Nachsatz zur V. Übung. [Appendix to tutorial V.], pp. 45-46.

[6 further arpeggio exercises]

["chains of all types of 7th chords and their derivatives"] (Sitsky, p. 167)

Anhang. 7 Variationen nach einem Motiv von Beethoven, p. 47.

[Appendix: Seven variations on a motive of Beethoven.]

[Footnote:] In verschiedenen Tonarten zu üben. Auch in Moll. [To be practiced in different keys. Also in minor.]

[The motive is from the coda of the first movement of the 'Emperor' concerto

Piano Concerto No. 5 (Beethoven)

The Piano Concerto No. 5 in E-flat major, Op. 73, by Ludwig van Beethoven, popularly known as the Emperor Concerto, was his last piano concerto. It was written between 1809 and 1811 in Vienna, and was dedicated to Archduke Rudolf, Beethoven's patron and pupil...

(score)]

Part 4: Eight Etudes by Cramer

Acht Etüden von Cramer (der Klavierübung vierter Teil.) (score)

[Busoni's edition of the Cramer etudes was originally published in 1897 by Schlesinger (BV B 53). That edition is faithful to the originals, except the slow introduction of No.5 is omitted, and suggested changes to Etudes 4 to 8 are indicated with ossias. The etudes were republished in this edition of the Klavierübung without alteration. They are also included in the Second Edition, Book 7, but the versions of Etudes 4 to 8 in that edition include the ossias in the text without notification and contain musical and pianistic changes as well.] (Sitsky, p 284)

I. Legato, pp. 2-18.

1. Allegro non tanto

2. Comodo. Behaglich

3. En Carillon: Moderato

4. Allegro di Bravura

II. Staccato, pp. 19-35.

5. Répétition: Allegrissimo

6. Allegro moderato

7. Scherzando: Piùttosto moderato

8. Finale: Molto agitato quasi presto

Part 5: Variations. Perpetual motion. Scales.

Variationen - Perpetuum mobile - Tonleitern (der Klavierübung fünfter Teil) (score)

[The following two sections (a) and (b) also appear in the Second Edition, Book 8 "Variations and Variants on Chopin"]

Zehn Variationen über ein Präludium von Chopin, pp. 2-22.

[Ten Variations on a Prelude by Chopin] (score)

[Variations on the Prelude in C minor, Op.28, No.20 (Chopin score). The Ten Variations were also published separately as catalog no. EB 5230 (BV 213a). The variations are played continuously; they are not numbered in the score, but are numbered here according to Sitsky (pp. 56-58).]

(1) Sostenuto [Introduction]

(2) Largo [Chopin Prelude]

(3) [var. 1] Sostenuto (alla breve)

(4) [var. 2] Poco più vivo, leggiero scherzoso

(5) [var. 3] (En Carillon)

(6) [var. 4] continuando. dolce

(7) [var. 5] Sotto voce e poi sempre aumentando

(8) [var. 6] [no marking, begins on p. 10, 4th beat of first measure]

(9) [var. 7] Fantasia: Tempo libero. - Andante. [2 bars] - Tempo libero. - Presto.

(10) [var. 8] [begins at the second bar of the "Allegro deciso"; 6 measures serving as introduction to var. 9]

(11) [var. 9] Scherzo finale - (Vivace misurato) [fugue-like]

(12) [var. 10] (Hommage à Chopin) Tempo di Valse, tranquillo moderato.

(13) Tempo dello Scherzo. [conclusion based on var. 9]

[Note: The "Faustian"

Doktor Faust

introduction (1) employs the technique of symmetrical harmony which Busoni had been developing over the previous twelve years. These four bars were so important to him that he later requested that they be played as introduction to the variations of 1888 (BV 213)] (Beaumont, p. 298.)

Sechs Varianten zu Etüden und Präludien von Chopin, pp. 23-31.

[Six Variants of Etudes and Preludes by Chopin]

"Erst der Spiegel der Variante vom Urbild zeigt das Interessante." (Ferruccio Busoni)

The variants are taken from Chopin's Etudes Op. 10

Études (Chopin)

(scores) and Preludes Op. 28 (scores) (Sitsky, p 282)

(1) [unmarked] [Variant of Etude, Op. 10 No.1

Étude Op. 10, No. 1 (Chopin)

- broken chords in both hands]

(2) Moderato [Variant of Etude Op. 10 No.2

Étude Op. 10, No. 2 (Chopin)

Étude Op. 10, No. 2, in A minor, is a technical study composed by Frédéric Chopin for the piano. Composed in 1829 it was first published in 1833 in France, Germany, and England This étude is an exercise in developing the independence of the weaker fingers of the right hand by playing rapid...

- chromatic figure played by thumb and second finger]

(3) Agitato [Variant of Op. 10, No.9

Étude Op. 10, No. 9 (Chopin)

Étude Op. 10, No. 9, in F minor, is a technical study composed by Frédéric Chopin in 1829. This étude is part of the twelve studies which belong to Op. 10. It is widely regarded as a good left hand étude because it promotes flexibility in the wrists and fingers. It is also considered the easiest...

- broken figures in the right hand]

(4) Moderato vivace [Variant of Etude Op. 10, No.7

Étude Op. 10, No. 7 (Chopin)

Étude Op. 10, No. 7, in C major, is a solo piano technical study composed by Frédéric Chopin in 1833. The tempo Vivace indicates a lively playing speed.- Structure :...

- begins more simply than Chopin, ends more difficulty, with both hands playing sixteenth-note chords]

(5) Allegro [Variant of Etude Op. 10, No.8

Étude Op. 10, No. 8 (Chopin)

Étude Op. 10, No. 8 in F major is a technical study composed by Frédéric Chopin. It has been nicknamed the "Sunshine" etude. This work follows on from No.7 as being primarily another work concerned with counterpoint. In this case, however, the principal melody is in the left hand, the secondary...

- Chopin's passage work is extended]

(6) Vivace [Upside-down variant of Prelude Op. 28, No.3] (score)

[Chopin's passage work is shifted to from the left to the right hand; the entire piece is transcribed and is performable.]

[The following piece also appears in the Second Edition, Book 9 as section (b)] Perpetuum mobile, pp. 32-42.

[Assigned the Kindermann catalog number BV 293 (score), this piece is a shortened version of the Scherzoso from the Concertino for Piano, BV 292. The middle section of the Scherzoso is replaced with a sequential passage.]

Beispiele: Czerny, Toccata [Op.92] (score)

Weber, Rondo aus der I. Sonate [Op.24] (score)

Saint-Saëns, Étude d'après le Finale du 5 Concerto [Op.111, No.6] (score)

Alkan, "Comme le vent" [Op.39, No.1] (score)

Alkan, "Le chemin de fer" [Op.27] (score)

Alkan, Étude pour les deux mains à mouvement semblable et perpétuel [Op.76, No.3] (score)

[The following four sections (d) to (g) also appear in the Second Edition, Book 1 "Scales" as sections (b) to (e).] Scales. 1. Allegro moderato, pp. 43-46.

[11 connected exercises in a series of keys with variants of techniques introduced in Part 1]

(Scales.) 2. Übereinanderstellung verschiedener Tonarten. [Superimposed keys], pp. 47-48.

[Footnote:] "Sind von jeder Halbton stufe aus zu wiederholen." [To be repeated in half-tone steps.]

[Bitonal scale exercises with different, but related keys in the right and left hand, e.g., C major and A major, etc.; hands in similar and contrary motion]

[This set concludes with a "Faustian

Doktor Faust

" cadence.] Beaumont, p. 304)

(Scales.) 3. Presto volante, pp. 49-51.

[7 single-note scale exercises on a single stave, in different keys and patterns, played by alternating hands; the 8th exercise is on two staves with scales in simultaneous octaves played with alternating hands, finishing with diverging stepwise chords in both hands]

Anhang. Terzen [Appendix. Thirds], p. 52

[5 scale exercises: broken thirds; double thirds split between two hands; double thirds in both hands; split chromatic thirds; split chromatic thirds with sliding fingers]

[This section should studied together with a similar section in Busoni's edition of the Well-Tempered Clavier, Book 1 (score)] (Sitsky, p. 166)

Klavierübung in Ten Books (Second Edition)

Title page:

Klavierübung in zehn Büchern von Ferruccio Busoni. Zweite umgestaltete und bereicherte Ausgabe.

[Piano Tutorial in Ten Books by Ferruccio Busoni. Second reorganized and enriched edition.]

Title shown on page 1:

Klavierübung. Studien and Vortragsstücke.

[Piano Tutorial. Studies and Performance Pieces.]

Book 1: Scales

Erstes Buch. Tonleitern, pp. 1–12. (score)

[The following section (a) also appears in the First Edition, Part 1, Tutorial I.] Presto, pp. 1-2.

[4 exercises using the thumb; 3 exercises not using the thumb; employ unusual and unorthodox fingerings: the thumb passing under the fifth finger; the fifth finger passing over the thumb; or not using the thumb at all]

[The following sections (b) to (e) also appear in the First Edition, Part 5, sections (d) to (g)] Allegro moderato, pp. 3-6.

[11 connected exercises in a series of keys with variants of the same techniques]

[Superimposed keys], pp. 7-8.

[Bitonal scale exercises with different, but related keys in the right and left hand, e.g., C major and A major, etc.; hands in similar and contrary motion]

[This set concludes with a "Faustian

Doktor Faust

" cadence.] Beaumont, p. 304)

Presto volante, pp. 9-11.

[Thirds], p. 12.

[5 scale exercises: broken thirds; double thirds split between two hands; double thirds in both hands; split chromatic thirds; split chromatic thirds with sliding fingers]

[This section should studied together with a similar section in Busoni's edition of the Well-Tempered Clavier, Book 1 (score)] (Sitsky, p. 166)

Book 2: Forms derived from scales

Zweites Buch. Von Tonleitern abgeleitete Formen, pp. 13–26. (score)

[The following section (a) also appears in the First Edition, Part 1 as Tutorial II.] [Chords based on scale patterns]

(1) [Extended exercise], pp. 13-14.

Beispiele: Weber, Sonate C dur, [Op. 24] I. [Allegro] (score)

Liszt

Liszt is a Hungarian surname. Notable persons with that surname include:* Franz Liszt , Hungarian composer and pianist* Adam Liszt , father of Franz Liszt* Anna Liszt , mother of Franz Liszt...

, Carillon, aus "der Weihnachtsbaum" [S.186/6] (score)

(2) Preludio: Allegro festivo, p. 15.

[begins in D-flat major and ends in C major]

Beispiel: Chopin, Fantasie [Op. 49] (score)

[The following section (b) also appears in the First Edition, Part 1 as Tutorial III.] [Chromatic "sliding-finger" technique]

["sixth finger" technique of sliding from black to white key in chromatic passages]

(1) [Seven exercises on double chromatics], pp. 16-17.

(2) Preludio (Andantino), pp. 17-18.

(3) Con bravura (la mano destra sotto), p. 18.

[alternating crossing hands: sliding one, two, three, four fingers simultaneously; both hands, similar motion, outer fingers held, inner sliding]

Beispiel: Liszt, Mazeppa (S.139/4) (score)

(4) Preludio (Tempo di Valse moderato), p. 19.

(5) Allegro moderato [exercise, in 6/8], pp. 19-20.

[The following section (c) also appears in the First Edition, Part 1 as Tutorial IV.] [Repeated notes]

(1) [Schema and eight variations], pp. 21-23.

[repeated note techniques, in various patterns of quarter, triplet, and sixteenth notes]

(2) Nach Schubert-Liszt, p. 23.

[excerpt from Auf dem Wasser zu singen, D 774, tr. Liszt, 12 Lieder von Franz Schubert, S.558/2 (score)] (Sitsky, p 243)

Beispiele: Chopin, Prelude Gis moll [in G-sharp minor, Op.28, No.12]. (score)

Liszt, Schuberts "Auf dem Wasser zu singen" [S.558/2]. (score)

Liszt, Au bord d'une source

Années de Pèlerinage

. (S.160/4) (score)

Liszt, Tannhäuser

Tannhäuser

Tannhäuser was a German Minnesänger and poet. Historically, his biography is obscure beyond the poetry, which dates between 1245 and 1265...

-Ouverture. (S.442 (score)

(3) Allegretto, p. 24.

[based on bars 11 and 12 of the Indian Diary BV 267, No.1] (Sitsky, p 243)

Beispiel: Busoni, Indianisches Tagebuch, Nr. 2. (score)

(4) (Nach Auber

Daniel Auber

-Liszt

Liszt

Liszt is a Hungarian surname. Notable persons with that surname include:* Franz Liszt , Hungarian composer and pianist* Adam Liszt , father of Franz Liszt* Anna Liszt , mother of Franz Liszt...

) Alla Tarantella. , pp. 25-26.

[excerpt from Tarantelle di bravura dàprès la Tarantelle de La muette de Portici

La muette de Portici

La muette de Portici originally called Masaniello, ou La muette de Portici, is an opera in five acts by Daniel Auber, with a libretto by Germain Delavigne, revised by Eugène Scribe...

, S.386] (Sitsky, p 243)

Beispiel: Liszt, Tarantella di Bravura sur "la Muette de Portici". (score)

Book 3: Chordal (broken chords)

Drittes Buch. Akkordisches, pp. 27–50. (score)

[The following sections (a) to (c) also appear in the First Edition, Part 1, Tutorial V. (Arpeggios)] [5 arpeggio exercises, thumb and fifth finger passing over and under each other], pp. 27-28.

Prestissimo; stretto, pp. 28-30.

[4 extension arpeggio exercises]

Beispiele: Chopin, Etude Op. 10 Nr. 1

Étude Op. 10, No. 1 (Chopin)

. (für die r. H.) (score)

Henselt, "Orage, tu ne saurais m'abattre". (für die l. H.) [12 Études caractéristiques, Op. 2, No.1] (score)

Chopin, Prélude Es dur. [Op. 28, No.19] (score)

Liszt, Vision

Transcendental Etude No. 6 (Liszt)

. [S.139, No.6] ([ score])

Bach-Busoni, Wohltemperiertes Klavier I, Varianten zu den Präludien in D moll und B dur

(Nach Bach

Bạch

), p. 30.

[exercise based on Prelude No.1, BWV 846, from the Well-Tempered Clavier, Book I] (Sitsky, p 203)

[The following section (d) also appears in the First Edition, Part 3, section (m) (pp. 45-46), as "Appendix to Tutorial V."] [6 further arpeggio exercises], pp. 31-32.

["chains of all types of 7th chords and their derivatives"] (Sitsky, p. 167)

[The following sections (e) to (i) also appear in the First Edition, Part 1, Tutorial V. (Arpeggios)] Nach Beethoven. Allegretto, pp. 33-34.

[exercise based an excerpt of the Waldstein

Piano Sonata No. 21 (Beethoven)

sonata (beginning at bar 61 of the Rondo Allegretto; score).] (Sitsky, p 278)

[Contrary motion extension study], p. 35.

[this exercise includes some big stretches](Sitsky, p 167

Allegro vivace, p. 36.

[contrary-similar motion combined]

[Extended broken octaves], pp. 37-38.

Beispiele: (for die linke Hand) Rubinstein

Anton Rubinstein

Anton Grigorevich Rubinstein was a Russian-Jewish pianist, composer and conductor. As a pianist he was regarded as a rival of Franz Liszt, and he ranks amongst the great keyboard virtuosos...

Etüde Es dur, 6 Etudes, Op. 23, No.4 in E-flat major (score)

Busoni, Indianisches Tagebuch, No.4. (score)

Preludio, pp. 39-40.

"Rather charming...in 3/2, with stretches in both hands."] (Sitsky, p 267)

[The following sections (j) to (l) also appear in the First Edition, Part 2, Tutorial VIII. (Examples with Arpeggios)] Nach Beethoven. Allegro, pp. 41-42.

[exercise based on a 2-bar excerpt from the 4th movement of Sonata, Op. 26

Piano Sonata No. 12 (Beethoven)

Ludwig van Beethoven composed his Piano Sonata No. 12 in A-flat major, Op. 26 in 1800–1801, around the same time as he completed his First Symphony...

(with six example variants)] (Sitsky, p 278; Beaumont, p. 303)

Beispiel: Sonate Op. 26. [Sonata No.12 "Funeral March"] (score)

Beispiel: Alkan

Charles-Valentin Alkan

, Etudes dans les tons majeurs: C dur Stück. [Op. 35, No.4] (score)

Preludio. Andante tranquillo, pp. 43-44.

[excerpt based on Busoni's Improvisation on "Wie wohl ist mir" for two pianos (BV 271; score), beginning at bar 10] (Beaumont, p. 303)

Tempo di Valse, elegantemente, pp. 45-48.

Beispiele: Chopin, Prélude Fis moll. [Prelude in F-sharp minor, Op.28, No.8] (score)

Liszt, Waldesrauschen

Zwei Konzertetüden

Two Concert Études is a set of two piano works by Franz Liszt.It consists of Waldesrauschen and Gnomenreigen ....

(S.145, No.1) (score)

Liszt, Dante-Sonate

Dante Sonata

, Mittelsatz. [S.167, No.7] (score)

[The following section (m) does not appear in the First Edition.] [Unmarked arpeggio study], pp. 49-50.

[shortened version of the etude from Prélude & Etude (en arpèges), BV 297 (score)]

Book 4: "For Three Hands"

Viertes Buch. "À trois main," pp. 51–62. (score)

[The following sections (a) to (c) also appear in the First Edition, Part 1, Tutorial VI. Examples of "three hands"] Preludio. Alla Tarantella, pp. 51-52.

Nach Offenbach. Barcarole, pp. 53-54.

[transcription of the Barcarole from the Tales of Hoffman] (score) (Sitsky, p 289; Beaumont, p. 303)

Nach Beethoven. Presto, pp. 55-56.

[excerpt from the fifth movement of the C-sharp minor Quartet Op. 131

String Quartet No. 14 (Beethoven)

Beispiele: Schubert-Liszt, Das Sterbeglöcklein.

[Schubert song, D.871, transcribed for solo piano]

[No.3 from Liszt's Sechs Melodien (6 Melodies), S.563]

Liszt, Valse a capriccio sur Lucia e Parisina (Erste Fassung) [S.401]

Busoni, Concerto (score)

[The following sections (d) to (f) also appear in the First Edition, Part 2, Tutorial IX. A second group for tutorial VI] Perpetuum mobile et infinitum. Studie nach Bach (aus "an die Jugend"). Allegro non troppo, pp. 57-58.

[An endlessly repeating 24-bar loop extracted from the "Fuga figurata" of Book 2 of Busoni's An die Jugend

An die Jugend

, BV 254 (score). The piece combines themes from the prelude and the fugue of Bach's Prelude and Fugue No.5 in D major (BWV 850) from the Well-Tempered Clavier, Book 1 (score)]

Nach Schubert, pp. 59-60.

[16-bar excerpt beginning just before bar 57 of Liszt's transcription of Schubert's song Erlkönig

Der Erlkönig

Der Erlkönig is a poem by Johann Wolfgang von Goethe. It depicts the death of a child assailed by a supernatural being, the Erlking or "Erlkönig"...

in 12 Lieder von Franz Schubert, S.558/4 (score)] (Sitsky, p 293)

Aus meinem "Concerto". Trattenuto e fantasticamente, pp. 61-62.

[excerpt, from the 2nd movement of Busoni's Concerto Op. XXXIX

Piano Concerto (Busoni)

, BV 247, p. 45 of the Egon Petri two-piano reduction

Book 5: Trills

Fünftes Buch. Triller, pp. 63–88. (score)

[The following sections (a) to (g) also appear in the First Edition, Part 2, Tutorial VII. Trills] Moderato, pp. 63-65.

[3 extended exercises in trills (forming one "preludio")]

Nach Bach. Andante, pp. 66-68.

[Variation 28 from Goldberg Variations

Goldberg Variations

, BV B 35 (score)] (Sitsky, p 203)

Beispiele: Beethovens Sonaten Op. 53 (score), Op. 109 (score) und Op. 111 (score).

Nach Beethoven. Allegro, pp. 69-70.

[based on part of the fugue from the 'Hammerklavier' Sonata, Op. 106

Piano Sonata No. 29 (Beethoven)

]

[The trills are written out and fitted with the other parts.] (Sitsky, pp. 278-279)

Beispiel: Vergleiche die ganze Fuge aus Beethovens Sonate Op. 106. (score)

Preludio (ohne den 3. Finger [without the third finger]). Moderato alla breve, pp. 71-72.

Beispiele: ¹⁾ ohne den 4. Finger: Chopin, Etudes

Études (Chopin)

Op. 25 F dur [No.3] (score),

ohne den 3. und 4. Finger: Chopin, Etudes Op. 10 As dur [No.10] (score).

²⁾ für die wechselnden Sekunden intervalle: Liszt's "Feux Follets

Transcendental Etude No. 5 (Liszt)

Transcendental Étude No. 5 in B-flat "Feux follets" is the fifth etude of the set of twelve Transcendental Etudes by Franz Liszt.- Difficulties :...

" [Transcendental Etude No.5, S.139/5 (score)]

Nach Gounod. Andante con moto, pp. 73-75.

[Busoni cadenza to Liszt-Gounod Valse de l'Opera Faust, S.407]

[begins at bar 24 of the Andantino (p. 9) of the Liszt score

[The Andantino section is based on the vision of Gretchen from Act 1.] (Beaumont, p. 303)

[Egon Petri

Egon Petri

's recording of this piece uses the Busoni cadenza.] (Sitsky, p. 240)

[4 measures for returning from Busoni's cadenza to the "Allegro vivace assai" of the Faust Waltz are provided by Sitsky on p 242.]

Beispiele: Faust-Walzer (score)

Die Vogelpredigt [S.175/1] (score)

Gondoliera [S.162/1] aus: Venezia e Napoli (Liszt) (score)

Preludio. Allegro, pp. 76-78.

["an effective preludio...with straightforward trill decoration running through it"] (Sitsky, p 168)

Nach Liszt. Andantino, pp. 79-82.

[theme from Gondoliera (from Liszt's Venezia e Napoli], score) with 3 variations] (Sitsky, p 243)

[The following section (h) also appears in the First Edition, Part 3, section (n), p. 47.] 7 Variationen nach eimem Motive von Beethoven, p. 83.

[Appendix: Seven variations on a motive of Beethoven.]

[Footnote:] In verschiedenen Tonarten zu üben. Auch in Moll. [To be practiced in different keys. Also in minor.]

[The motive is from the coda of the first movement of the 'Emperor' concerto

Piano Concerto No. 5 (Beethoven)

(score)]

[The following piece is not included in the First Edition] Veloce e leggiero, pp. 84-88.

[This extended piece, composed 1–3 January 1924, is Busoni's last piano composition (score). The music was also intended for Busoni's unfinished opera Doktor Faust

Doktor Faust

, and Antony Beaumont

Antony Beaumont

Antony Beaumont is an English and German musicologist, writer, conductor and violinist. As a conductor, he has specialized in German music from the first half of the 20th century, including works by Zemlinsky, Weill, and Gurlitt...

used it for his completion of the opera.] (Beaumont, p. 305)

["A sinister five-page essay in Busoni's best spectral style..."] (Sitsky, p 168)

Book 6: Staccato

Sechstes Buch. Lo Staccato, pp. 89–117. (score)

[The material in Book 6 also appears in the First Edition, Part 3 "Staccato", sections (a) to (j).]

Vorwort zum Sechsten Buch, p. 89.

[Foreword by Ferruccio Busoni, dated Zurich, July 1920.]

Vivace Moderato, con precisione, pp. 90-93.

["...hectic and difficult study in staccato chords...."] (Sitsky, p 169)

Variations-Studie nach Mozart, 1, pp. 94-95.

[transcription (score) of the "Serenade" from Don Giovanni]

[This piece was played frequently by Egon Petri

Egon Petri

as an encore.] (Sitsky, p 264)

Variations-Studie nach Mozart, 2. Allegro, pp. 96-101.

[slightly altered versions the Giga and Variazione from Book 3 of An die Jugend

An die Jugend

, BV 254 (score); the Bolero is cut] (Sitsky, pp. 264-266)

Motive. Allegro risoluto, pp. 102-104.

[staccato study with alternating-hands]

["a sequential study employing various intervals, including bars of consecutive seconds"] (Sitsky, p. 169)

Preludio. Quasi presto, arditamente, pp. 105-107.

[Preludio from Busoni's Toccata, BV 287 (score)]

Nach Mendelssohn. Vivace assai, pp. 108-109.

[transcription of the Presto from the Mendelssohn-Liszt Wedding March & Elfin Chorus, S.410 (score)] (Sitsky, p 243)

Nach Bizet. Allegro deciso, pp. 110-111.

[consists of the first 68-bars of Busoni's Kammer Fantasie über Carmen, BV 284 (score) with 6-bars added to provide an ending] (Sitsky, p 279)

Nach Liszt. Quasi Galopp, sempre da Capo, pp. 112-113.

[60-bar indefinitely repeating excerpt from Busoni's piano transcription of Liszt's Mephisto Waltz for orchestra (S.110), BV B 61 (beginning on p. 27 of the complete score)] (Sitsky, p 243)

Allegro, pp. 114-117.

"...another fierce-looking study in staccato chords...." (Sitsky, p 170)

Beispiele: Weber, Momento capriccioso (score)

Schumann, Toccata (score)

Rubinstein, Etüde C dur [Op.23, No.2] (score)

Mozart-Liszt, Don Juan-Fantasie, Finale (Ausgabe Busoni) (score)

Liszt, La Campanella (Ausgabe Busoni) (score)

Liszt, Galop chromatique

Liszt, Tarantella di Bravura (score)

Alkan, Etüde majeur No.12 (score)

Cramer-Busoni, Etüden, II. Heft (score)

Busoni, Fugen-Etüde, Op. 16 [No.5] (score)

Busoni, Turandots Frauengemach

Elegies (Busoni)

(BV 249, No.4] (score)

Busoni, Indianisches Tagebuch,Nr. 2. [BV 267, No.2] (score)

Busoni, IV. Ballet-Szene (Galopp). [BV 238a, No.2] (score)

Book 7: Eight Etudes after Cramer

Siebentes Buch. Acht Etüden nach Cramer (score)

[Busoni's edition of the Cramer etudes was originally published in 1897 by Schlesinger (BV B 53). That edition is faithful to the originals, except the slow introduction of No.5 is omitted, and possible changes to Etudes 4 to 8 are indicated with ossias. The etudes republished in the Klavierübung (First Edition, Part 4) are identical to those in the Schlesinger edition. However, in this edition Etudes 4 to 8 include the ossias in the text without notification and contain musical and pianistic changes as well.] (Sitsky, p 284)

Acht Etüden nach Cramer, pp. 118-150.

1. Allegro non tanto

2. Comodo: Behaglich

3. En Carillon: Moderato

4. Allegro di Bravura

5. Répétition: Allegrissimo

6. Allegro moderato

7. Scherzando: Piùttosto moderato

8. Finale: Molto agitato quasi presto

Book 8: Variations and Variants on Chopin

Achtes Buch. Variationen und Varianten zu Chopin (score)

[The material in Book 8 also appears in the First Edition, Part 5 "Variations. Perpetual motion. Scales.", sections (a) and (b).]

Neun Variationen über ein Präludium von Chopin, pp. 151-167.

[The same as Zehn Variationen über ein Präludium von Chopin (BV 213a, except the "Fantasia" section is omitted (score)] (Sitsky, p 57)

[The variations are played without pause; they are not numbered in the score, but are numbered here according to Sitsky.]

(1) Sostenuto [Introduction]

(2) Largo [Chopin Prelude]

(3) [var. 1] Sostenuto (alla breve)

(4) [var. 2] poco più vivo, legg. scherzoso

(5) [var. 3] (En Carillon)

(6) [var. 4] continuando. dolce

(7) [var. 5] sotto voce e poi sempre aumentando

(8) [var. 6] [no marking, begins on p. 159, 4th beat of first measure]

[The Fantasia section is omitted here; it is included in the 1st edition of the Klavierübung.]

(9) [var. 7] deciso. [6 measures serving as introduction to var. 8]

(10) [var. 8] Scherzo finale - (Vivace misurato) [fugue-like]

(11) [var. 9] (Hommage à Chopin) Tempo di Valse, tranquillo moderato.

(12) Tempo dello Scherzo. [conclusion based on var. 8]

[Note: The "Faustian"

Doktor Faust

Varianten zu Etüden und Präludien von Chopin, pp. 168-177.

[Six Variants of Etudes and Preludes by Chopin]

"Erst der Spiegel der Variante vom Urbild zeigt das Interessante." (Ferruccio Busoni)

[The variants are taken from Chopin's Etudes Op. 10

Études (Chopin)

(scores) and Preludes Op. 28 (scores)] (Sitsky, p 282)

(1) [unmarked] [Variant of Etude, Op. 10 No.1

Étude Op. 10, No. 1 (Chopin)

- broken chords in both hands]

(2) Moderato [Variant of Etude Op. 10 No.2

Étude Op. 10, No. 2 (Chopin)

- chromatic figure played by thumb and second finger]

[followed with a page of suggested variants (not found in the First Edition)]

(3) Agitato [Variant of Op. 10, No.9

Étude Op. 10, No. 9 (Chopin)

- broken figures in the right hand]

(4) Moderato vivace [Variant of Etude Op. 10, No.7

Étude Op. 10, No. 7 (Chopin)

Étude Op. 10, No. 7, in C major, is a solo piano technical study composed by Frédéric Chopin in 1833. The tempo Vivace indicates a lively playing speed.- Structure :...

- begins more simply than Chopin, ends more difficulty, with both hands playing sixteenth-note chords]

(5) Allegro [Variant of Etude Op. 10, No.8

Étude Op. 10, No. 8 (Chopin)

- Chopin's passage work is extended]

(6) Vivace [Upside-down variant of Prelude Op. 28, No.3] (score)

[Chopin's passage work is shifted to from the left to the right hand; the entire piece is transcribed and is performable.]

Book 9: Seven Short Pieces for the Cultivation of Polyphonic Playing

Neuntes Buch. Sieben kurze Stücke zur Pflege des polyphonen Spiels (score)
Sieben kurze Stücke zur Pflege des polyphonen Spiels, pp. 178-202.

[Nos.1 and 7 were added to extend Fünf kurze Stücke zur Pflege des polyphonen Spiels auf dem Pianoforte, BV 296. The pieces follow a cycle of keys of ascending fourths.] (Sitsky, p. 170)

1. Preludietto. Allegro [in E major]

[This piece also appears in the First Edition, Part I, Tutorial I, section (f)]

2. Sostenuto [in e minor]

3. Andante molto tranquillo e legato [in A minor]

4. Allegro [begins in D minor; ends in D major]

5. Preludio. Andante tranquillo [in G major]

6. nach Mozart. Adagio [in c minor]

[Footnote:] *) "Zwei geharnischte Männer" (die Zauberflöte)

7. Mit Anwendung des III. Pedals (Steinway & Sons Sustaining-Pedal.) Andante tranquillo. [in F major]

[This piece is written on 4 staves, two for the Hauptstimme [principal part] and two for the Liegende Töne [Held notes]. Busoni finished it on 13 November 1923 in Paris. It is dedicated to Leonhard Tauber, who was his host while he was in Paris. The music was intended for the moment of Faust's death at the end of the final scene of his unfinished opera Doktor Faust

Doktor Faust

.] (Beaumont, p. 306.)

[The following piece also appears in the First Edition, Part 5 as section (c)]

Perpetuum mobile (nach des Concertino II. Satze), pp. 203-213.

Beispiele: Czerny, Toccata [Op.92] (score)

Weber, Rondo aus der I. Sonate [Op.24] (score)

Saint-Saëns, Étude d'après le Finale du 5 Concerto [Op.111, No.6] (score)

Alkan, "Comme le vent" [Op.39, No.1] (score)

Alkan, "Le chemin de fer" [Op.27] (score)

Alkan, Étude pour les deux mains à mouvement semblable et perpétuel [Op.76, No.3] (score)

Book 10: Etudes after Paganini-Liszt

Zehntes Buch. Etüden nach Paganini-Liszt (score)

[Sections (a) to (f) are Busoni's concert transcriptions (scores) of Listzt's Grandes Études de Paganini (S.141)

Grandes Etudes de Paganini

The Grandes études de Paganini are a series of six études for the piano by Franz Liszt, revised in 1851 from an earlier version...

]

1. [Etude No.1 "Tremolo" (in G minor) (BV B 75)], pp. 214-227.
2. [Etude No.2 (in E-flat major) (BV B 70)], pp. 228-238.
3. [Etude No.3 "La Campanella

La Campanella

La campanella is the nickname given to the third of six Grandes études de Paganini , S. 141 , composed by Franz Liszt. This piece is a revision of an earlier version from 1838, the Études d'exécution transcendente d'après Paganini, S. 140. Its melody comes from the final movement of Niccolò...

" (in G-sharp minor) (BV B 68)], pp. 239-256.
4. [Etude No.4 "Arpeggio" (in E major) (BV B 74)], pp. 257-261.

[This etude also appears in the First Edition, Part 3, section (k), with the title Variations-Studie nach Paganini-Liszt, 1.]

5. [Etude No.5 "La Chasse" (in E major) (BV B 76)], pp. 262-267.
6. [Etude No.6 "Theme with variations" (in A minor) (BV B 67)], pp. 268-275.

[This etude also appears in the First Edition, Part 3, section (l), with the title Variations-Studie nach Paganini-Liszt, 2.]

Introduzione e Capriccio (Paganinesco), pp. 276-284.

[Book 4 of An die Jugend

An die Jugend

, without "Epilogo", BV 254 (score)]

Composition and publication details

Klavierübung in Five Parts (First Edition)

Part 1: Sechs Klavierübungen und Präludien

•Compiled and composed: Zurich, 10–12 September, 10 October 1917

•Manuscript: Busoni Archive No.303

•Publication:

1) Leipzig: Breitkopf & Härtel

Breitkopf & Härtel

, 1918, cat. no. EB 5066, plate no. 28210, (39 pages)

2) Wiesbaden: Breitkopf & Härtel

Breitkopf & Härtel

, 1954 (reprint)

3) Wiesbaden: Breitkopf & Härtel

Breitkopf & Härtel

, [ca. 1990] (reprint)

•Dedication: An die Musikschule und das Konservatorium in Basel

Part 2: Drei Klavierübungen und Präludien

•Compiled and composed: 7 November 1917 - 7 June 1918

•Manuscript: Busoni Archive No. 306

•Publication:

1) Leipzig: Breitkopf & Härtel

Breitkopf & Härtel

, 1919, cat. no. EB 5067, plate no. 28321, (47 pages)

2) Wiesbaden: Breitkopf & Härtel

Breitkopf & Härtel

, [ca. 1996] (reprint)

•Dedication: An die Musikschule und das Konservatorium zu Basel

Part 3: Lo Staccato

•Compiled and composed: June 1919 - 10 Mar 1921

•Manuscript: Busoni Archive No. 324

•Proof copy: Busoni Archive No. 358

•Publication:

1) Leipzig: Breitkopf & Härtel

Breitkopf & Härtel

, 1921, EB 5068, plate no. 28665, (47 pages)

2) Leipzig: VEB Breitkopf & Härtel

Breitkopf & Härtel

, [1950] (reprint)

3) Wiesbaden: Breitkopf & Härtel

Breitkopf & Härtel

, [1950] (reprint)

4) Wiesbaden: Breitkopf & Härtel

Breitkopf & Härtel

, [ca. 1996] (reprint)

•Ded: An die Musikschule und das Konservatorium in Basel. F. Busoni.

Part 4: Acht Etüden von Cramer

•Transcribed: ca. 1896 (BV B 53)

•Manuscript: Unknown.

•Publication:

1) Berlin: Schlesinger, London: The Frederick Harris Company, 1897, S.8772 (separately from Klavierübung)

2) Leipzig: Breitkopf & Härtel

Breitkopf & Härtel

, 1922, EB 5224, plate number 28809, (35 pages)

3) Wiesbaden, Leipzig, Paris: Breitkopf & Härtel

Breitkopf & Härtel

, [1955] (reprint)

4) Wiesbaden: Breitkopf & Härtel

Breitkopf & Härtel

, [ca. 1996] (reprint)

•Dedication: Herrn Professor Carl Lütschg in St. Petersburg.

Part 5: Variationen, Perpetuum mobile, Tonleitern.

•Composed: April-May 1922

•Manuscript: Busoni Archive No. 337 (Terzen Tonleitern [Scales in Thirds])

•Publication:

1) Leipzig: Breitkopf & Härtel

Breitkopf & Härtel

, 1922, EB 5225, 5230, and 5231, plate no. 28765, (52 pages)

2) Wiesbaden, Leipzig, Paris: Breitkopf & Härtel

Breitkopf & Härtel

, [1955?] (reprint)

3) Wiesbaden: Breitkopf & Härtel

Breitkopf & Härtel

, [ca. 1996] (reprint)

•Dedication: À Gino Tagliapietra (Variationen); À Cella Delavrancea (Perpetuum mobile).

•Ref: Dent, pp. 344, 349; Kindermann, pp. 461-463; Sitsky, pp. 162, 375-77; Beaumont, pp. 295-6, 370-2; Roberge, p. 45.

Klavierübung in Ten Books (Second Edition)

•Compiled and composed: Dec 1923 - Jan 1924

•Note: Listed in an itemization of his compositions, prepared by Busoni, now part of the Busoni Archive.

•Manuscripts:

•In the Busoni Archive at the Staatsbibliothek zu Berlin

Berlin State Library

The Berlin State Library is a library in Berlin, Germany and a property of the Prussian Cultural Heritage Foundation.-Buildings:The State Library runs several premises, three of which are open for users, namely House 1 in Unter den Linden 8, House 2 in Potsdamer Straße 33 and the newspaper archive...

•No. 303 Sechs Klavierübungen und Präludien (also First Edition, Part 1)

•No. 306 Drei Klavierübungen und Präludien (also First Edition, Part 2)

•No. 324 "Lo Staccato" (also First Edition, Part 3)

•No. 337 Terzen Tonleitern (also First Edition, Part 5)

•No. N. Mus. ms. 215 Exercise pour l'emploi de la troisième Pedale

•In the Galston-Busoni Archive, James D. Hoskins Library, University of Tennessee, Knoxville:

•F.4.d Preludio (no. 2 of BV 296 Fünf kurze Stücke zur Pflege des polyphonen Spiels)

•F.4.a, F.4.c, and F.8 (ms and proof copy of BV 297 Prélude et Étude en Arpèges')

•F.3 Liszt-Busoni "Tremolo" 1 Etude nach Paganini (BV B 75)

•F.4 Liszt-Busoni "La Chasse" 5 Etüde nach Paganini (BV B 76)

•F.9 Sechs Varianten zu Etüden und Präludien von Chopin

•Publications:

1) Breitkopf & Härtel

Breitkopf & Härtel

•Title: Klavierübung in zehn Büchern, zweite umgestaltete und bereicherte Ausgabe.

[Piano tutorial in ten books, second reorganized and enriched edition.]

2) Books 1-5 republished by State Publishing House, Moscow, 1968, ed. J. Milstein. Plate no. 4135

3) Breitkopf & Härtel

Breitkopf & Härtel

, Wiesbaden, 1968 (selected items ed. Franzpeter Goebels)

•Ref: Dent, p. 344; Kindermann, pp. 463-464; Sitsky, pp. 162-163, 380-381; Beaumont, pp. 295-296, 372; Roberge, pp. 46, 55, 57.

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