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A translation of the only book that focuses solely on the pianistic aspect of Busoni's wide-ranging career.
"Busoni's radical ideas about music was, is, and could be drew fire from his more conservative contemporaries. His thoughts on musical notation, opera, and the division of the scale were well ahead of his time, but, in many cases, are common currency today. Busoni went into voluntary exile in Switzerland during World War I, unwilling to take sides, and only recently has the veil been gradually lifted from his work and theories. Ferruccio Busoni: "A Musical Ishmael" shines a revealing light on Busoni's life, concepts, and profound influence on contemporary musical aesthetics and practice."--BOOK JACKET.
Larry Sitsky, professor emeritus at The Australian National University, is an internationally known composer, pianist, scholar, and teacher. His books are fundamental reference works on subjects such as Australian piano music, the 20th-century avant-garde, the piano music of Anton Rubinstein, the early 20th-century Russian avant-garde, and the classical reproducing piano roll. The Compleat Busoni is the result of Sitsky’s lifelong focus on the composer Ferruccio Busoni. Over three volumes, Sitsky surveys Busoni’s vast output, provides an ending to the unfinished opera Dr. Faust, and presents definitive realisations of the Fantasia Contrappuntistica in two-piano and orchestral versions. New insights into Busoni’s style and aesthetics are an integral aspect of this work.
An analysis of the composer’s unconventional teaching style and philosophy, his relationship with his students, and his effect on twentieth century music. Many students of renowned composer, conductor, and teacher Ferruccio Busoni had illustrious careers of their own, yet the extent to which their mentor’s influence helped shape their success was largely unexplored until now. Through rich archival research including correspondence, essays, and scores, Erinn E. Knyt presents an evocative account of Busoni’s idiosyncratic pedagogy—focused on aesthetic ideals rather than methodologies or techniques—and how this teaching style and philosophy can be seen and heard in the Nordic-inspired musical works of Sibelius, the unusual soundscapes of Varèse, the polystylistic meldings of music and technology in Louis Gruenberg’s radio operas and film scores, the electronic music of Otto Luening, and the experimentalism of Philip Jarnach. Equal parts critical biography and interpretive analysis, Knyt’s work compels a reconsideration of Busoni’s legacy and puts forth the notion of a “Busoni School” as one that shaped the trajectory of twentieth-century music. “Erinn Knyt’s Ferruccio Busoni and His Legacy is a most welcome addition to the literature on Busoni as a fine example of research based on primary sources.” —Bach
Winner of the 2007 National Book Critics Circle Award for Criticism A New York Times Book Review Top Ten Book of the Year Time magazine Top Ten Nonfiction Book of 2007 Newsweek Favorite Books of 2007 A Washington Post Book World Best Book of 2007 In this sweeping and dramatic narrative, Alex Ross, music critic for The New Yorker, weaves together the histories of the twentieth century and its music, from Vienna before the First World War to Paris in the twenties; from Hitler's Germany and Stalin's Russia to downtown New York in the sixties and seventies up to the present. Taking readers into the labyrinth of modern style, Ross draws revelatory connections between the century's most influential composers and the wider culture. The Rest Is Noise is an astonishing history of the twentieth century as told through its music.
Reproduction of the original: Sketch of a New Esthetic of Music by Ferruccio Busoni
One of the greatest of the pianists after the time of Liszt, Ferruccio Busoni was a turn-of-the-century composer whose music has recently begun to be taken very seriously in academic circles and among contemporary performers. This work is the first volume to offer a comprehensive, annotated bibliography covering a wide range of published and unpublished materials, including Busoni's librettos and his perceptive essays on the future of music. It also provides a brief biography and detailed listings of Busoni's compositions, together with an extensive discography. The list of works presents information on original works, cadenzas, transcriptions, editions, and performances. The discography lists transcriptions and arrangements in addition to recordings of original works. Piano rolls and recordings by Busoni are included. Among the subject categories in the bibliography are Busoni's writings; a guide to the contents of the editions of his writings; his correspondence; studies and commentaries on Busoni's composition, performances, and writings; and personal reminiscences by those who knew him. Up-to-date information about new editions and reprints of Busoni's works is given. An appropriate addition to library music collections, this work is a valuable resource for both musicologists and performers.
Classic 1919 arrangements of four keyboard masterpieces — Goldberg Variations, Chromatic Fantasy and Fugue, The Art of the Fugue, and Concerto for Piano and String Orchestra in D Minor. Breitkopf & Härtel edition.