The Triumph of his Art
An analysis of the style of Busoni’s compositions reveals many changes over the course of the years. There are traces of the late Romanticism of the 19th century, impressionism and also the “matter-of-factness” typical of the 20th.
In the years between 1910 and 1917 Busoni’s output of piano music was prolific. To this period belong:
• Elegien for piano (1907-9)
• Fantasia contrappuntistica (1910-12)
• Second sonatina (1912) and the Nocturne symphonique op. 43.
These compositions demonstrate the composer’s interest in the atonal works of Schönberg, taking issue with expressionism then in its early stages, in favour of an art opposed to novelty for novelty’s sake.
Other notable works are:
• Indianishes Tagebuch (1913)
• Arlecchino (1914-16)
• Turandot (1917).
From 1916 onwards Busoni worked on Doktor Faust, a task which occupied the last years of his life. This last opera, taken up again in Berlin in 1920 and remaining unfinished in 1924, the year of Busoni’s death, was to be completed by his pupil Jarnach and performed in 1925.
Doktor Faust may be considered the most complete example of his anti-naturalist, symbolist conception of theatre.
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A Precocious Talent
Busoni entered on a concert career while very young, first performing when he was 7. He was not only precocious as a pianist but also as a composer. When only 14 he had already amassed about 150 compositions. Mention may be made of the following:
• Lieder op. 1 and 2 (1877-8),
• Cinq Pièces op. 3 for piano (1877),
• Scherzo in F sharp minor op. 8 (1877),
• Racconti fantastici (Fantastic Tales) op. 12 (1878),
• Tre pezzi nello stile antico (Three Pieces in Ancient Style) op. 10 (1882),
• Danze antiche (Ancient Dances) op. 11 (1882)
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