The Romantic Legacy

late nineteenth to early twentieth century

(Classical Music Map)


I. History of Classical Music  (by John Stanley)
The great composers and their masterworks in MP3 format
Albeniz Borodin Donizetti Hindemith Prokofiev Schutz
Albinoni Brahms Dowland Janacek Puccini Scriabin
Allegri Britten Dvorak Kodaly Purcell Sibelius
Arne Bruckner Falla Leoncavallo Rachmaninov Smetana
Auber Busoni Field Liszt Rameau Strauss J.S.
Bach Byrd Gabrieli Lully Ravel Strauss R.
Barber Carissimi Gershwin Mahler Respighi Stravinsky
Bartok Charpentier Gesualdo Mendelssohn Rimsky-Korsakov Tallis
Beethoven Cherubini Glinka Meyerbeer Rossini Tchaikovsky
Bellini Chopin Gluck Monteverdi Saint-Saens Telemann
Bernstein Clementi Gounod Mozart Scarlatti Verdi
Berwald Corelli Grieg Mussorgsky Schoenberg Victoria
Berlioz Couperin Handel Pachelbel Shostakovich Villa-Lobos
Bizet Debussy Haydn Paganini Schubert Vivaldi
Boccherini Delibes Hildegard Palestrina Schumann Wagner
Orff  "Carmina Burana"
II. History of Jazz

Ferruccio Busoni



Busoni was born to musical parents near Florence in Italy. He showed much early promise and at the age of 12 conducted one of his own compositions. In 1881 he went to the Reale Accademia Filarmonica at Bologna, where his talents were quickly noticed. He composed intensively during his youth and in 1883 produced an oratorio, Il sabato de villaggio, that received great acclaim. However, he became more self-critical and his output diminished as he subjected many works to substantial revision.

In 1886 Busoni studied with Carl Reinecke in Leipzig. There he met a host of important musicians, including Tchaikovsky, Grieg, Mahler, and Delius. The following year he visited Helsinki, where he met Sibelius. Shortly afterwards he toured the United States, consolidating his reputation as a virtuoso pianist.

In 1894 Busoni settled in Berlin, which except for the war years was his home for the rest of his life. Busoni absorbed and contributed to the progressive spirit of this city, renowned as a centre of artistic excellence. In 1902 he organized a series of orchestral concerts designed to promote the work of modern composers; he premiered pieces by Bartok, Debussy, Delius, and Sibelius, as well as his own works.

The following year he started work on a Piano concerto, which clearly shows the influence of Liszt. The piano part, although fiercely difficult, does not rely on displays of virtuosity and often takes a subordinate role to the orchestra. The music's intensity becomes almost frenzied and culminates in the introduction of a male voice choir in the final movement.

In 1907 Busoni published a forward-looking treatise entitled Outline of a Sew Aesthetic of Music, in which he propounded his idea of a modern but understandable style of composition. His own work, unfortunately, was often badly received and denounced by Berlin critics for its use of Italian rather than German traditions.

In the closing days of 1909 he set sail for the United States once more, where he undertook a hectic schedule of concerts. Despite this he found time to write another large-scale piano work, Fantasia contrappuntistica. This takes the form of a gigantic fugue (a highly structured musical form requiring great compositional skill) modelled on Bach's Art of fugue.

In his last years Busoni became increasingly interested in the stage and began work on a setting of Goethe's Faust. The resulting intensely expressive and concentrated work, Doktor Faust, attained a degree of spirituality and mysticism unique in opera. The work was unfinished when Busoni died; but in 1925, at a posthumous performance of a completed version, it was revealed as embodying the struggle between tradition and innovation that epitomized Busoni's life's work.


Ferruccio Busoni



Ferruccio Busoni (1866-1924)



C. Breemer
Sonatina No.3 (Ad usum infantis Madeline M. Americane)
C. Breemer
Sonatina No.4 (In Diem Nativitatis Christi MCMXVII)
Boris Giltburg
Busoni - Bach
Chaconne from Partita for violin solo in D minor, BWV

Leonald Kaidja
Busoni -
Choral prelude "Nun komm, der Heiden Heiland" BWV 659

Cecile Licad
Mephisto Waltz No. 1 for piano, S. 514





















Strauss Richard



Discuss Art

Please note: site admin does not answer any questions. This is our readers discussion only.

| privacy