Ferruccio BUSONI (1866-1924)
Early Masterpieces 1877-1883
Anna WEISS-BUSONI (1833-1909)
Improvvisata per pianoforte (1855) [4:12]
Holger Groschopp (piano)
rec. 2018, Ölbergkirche, Berlin
CAPRICCIO C5416 [3 CDs: 184:31]
The sub-title of this release is Piano works from his Youth, the Complete Published Pieces 1877-1883. By the age of 11 Busoni was a seasoned composer and over sixty unpublished piano pieces exist, some dating from the age of 7. These discs, however, concentrate on the published works that Busoni wrote between the ages of 11 and 16. Other published works were written in 1883, the 6 Études op.16, BV203 and the Sonata in F minor op.20, BV204 for example but evidently Busoni had turned 17 by then. The Cds are well presented with two large scale works on the first disc, the colourful suite Una festa di villaggio with its revised march and the 24 Préludes remarkably written when Busoni was 14 going on 15. CD2 contains the pieces from 1877-1879 and CD3 finshes up with the other works written between 1880 and 1883. A bonus track is the Improvvisata written by Busoni's mother Anna Weiss-Busoni. Only two pieces of hers have been traced, the other, the Salon polka, Ferrucio appears on Groschopp's recording of Busoni's Bach transcriptions (Capriccio 5198
review). With regard to the odd catalogue numberings it is best to check with the BV numbers or go by the given dates; Busoni seems to have been haphazard with how he assigned opus numbers, reassigning numbers from youthful works to new compostions. The Busoni-verzeichnis (BV) is much more comprehensive and generally chronological though it lists by publication rather than composition date.
I must start by saying I loved this collection. This is not groundbreaking stuff but there are genuine little gems amongst these miniatures. The opening suite Village festival is one of them. I don't think anyone hearing this colourful and enjoyable set would think it the work of a composer in his mid-teens and it holds together as well as many a collection of short genre pieces. The opening is the spirited and energetic Preparations for the festival with its imitations of villagers rushing here and there and overlapping harmonies to recreate bells ringing out. A stirring march precedes a visit to a church. Something of the mature Busoni can be felt here; the thick textures of the piano hint at the Bach organ transcriptions to come and his adoration of Bach is clear as the opening of the St Matthew Passion rings out in this village church service. The festivities get under way and a bustling fair scene is recreated with musicians and entertainers, a gently swirling waltz follows before night falls bringing a well earned rest – though not without the activities of the day continuing to echo. As an appendix we hear the alternative march that Busoni composed the following year, hoping to replace the original second movement.
The Préludes are certainly large scale running at over 45 minutes and the variety, scope and maturity of this set is hard to imagine from a young teenager. Pick any one at random and there will be some interesting harmonic, some well-considered figuration, some cleverly wrought structure and texture. The first is as good example as any; an almost constant syncopated chord pattern contains a slowly shifting harmony and subtle inner voice leading. Busoni cleverly eases the potentially obsessive nature of the one bar rhythm with a couple of two bar phrases. Though called Preludes many are in the style of familiar character pieces; numbers 5 and 8 are a hunting song and a barcarolle respectively whilst numbers 10 and 23 are virtuoso studies. No.14 is a funeral march that is not quite a precursor to his grand transcription of Siegfried's Funeral march from Götterdamerung but hints are there in the repeated left hand runs. There are dances a-plenty; a wonderfully jaunty polka (no.9), a scherzo (no.11), a flowing, elegant waltz (no.12) and a more haunting waltz with a fughetta at its heart (no.21). No.19 is a devilish moto perpetuo whilst no.22 is a humorous scherzo-fugue. There are echoes of other composers works here as well; the gigue (no.7) is an affectionate and virtuoso homage to Bach with little hints of Mendelssohn thrown in and the sprit of Scarlatti hovers over the hunting song, probably grinning at some of its twists and turns. Busoni rounds off the set with a spinning song in D minor. All of these works would stand up to inclusion in a recital and I think few would guess the composer or his age.
The single published movement of his Sonata op.8 is a scherzo in the style of gigue, short and to the point with most of its harmonic interest in the trio section. His Cinq pičces are essentially a baroque suite and were written by the 11 year old Busoni in Vienna. There is a serious, contrapuntal Prélude, a minuet, a gavotte which is possibly the most straightforward piece yet heard; not surprisingly as it is virtually identical to one he wrote when he was seven. An étude follows that could almost be an allemande in a Bach suite and a gigue ends the suite. His Minuet op.14 is another dance in stil antico, elegant and bouyant. The Suite campestre, his Rustic suite, opens with a canzone that has an accompanying drone bass. We follow the hunt, la caccia and head into l'orgia, a busy and boisterous dance. Il ritorno with its somewhat heavy step is presumably the workers wearily heading home from the fields and finally we have the evening prayers, a rather solemn affair this time. The two voice fugue from his op.21 prelude and fugue takes over the detached left hand figures of the short prelude. More antique dances follow; the Gavotte op.25 has more than a touch of Bach about it while the next four are actually labelled Danza antica. The minuet would be difficult to dance to with its little hesitations but it is a beautifully crafted little dance. The brisk gavotte is rather grand with its left hand octaves; the trio is in a rich romantic style. The gigue is rather serious and while the bourrée feels a wee bit heavy I enjoyed the trio with its variously harmonised phrase endings. The Tre pezzi nello stile antico and Gavotte op.70 are more of the same; Baroque dances that are well crafted without having any great individuality. The Sonatina, second of the Tre pezzi is slightly different in that it based more on early classical models.
The Racconti fantastici, fantastic tales are in a different vein though admittedly the first, duel, is treated fugally at one point and is generally contrapuntal throughout. The source of the tale is unknown though E.T.A. Hoffmann is the inspiration for the second piece, Klein Zaches, the dwarf changeling so familiar from the aria in the prologue of Offenbach's Tales of Hoffmann. Busoni's depiction is not as memorable but he certainly capers energetically. Wilhelm Hauff's legend the cavern of Steenfall inspired the last of the set. The cascades of semiquavers depict the sea, its enormous swells wrecking the Dutch ship Carmilhani. As the piece progresses they form a portentous backdrop to the chorale sung by the doomed sailor's. Again these are a far cry from the music of the mature Busoni but are works full of character, especially Klein Zaches that would do well to be aired now and then.
The gradual build of intensity in the pastoral central section of the Scherzo, the first of the Trois morceaux is quite distinctive. The outer sections are a half gigue, half fugue. The second of the set is a prélude and fugue; the opening theme of the prelude takes us through several keys on its journey. I particularly liked the long build up over a pedal bass that resolves into another build up in the return to the home key. The fugue is an impressive moto perpetuo. Busoni ends the set with a vigorous scene de ballet, with high kicks, delicate runs and lots of octaves. I am not sure where the night enters into his Danza notturno; It is a delightful, graceful waltz that to me sounds full of meadows and sunshine with a touch of rustic revelry in the middle.
There is one more baroque minuet to open his set of medieval character studies, Macchiette medioevali. The first character on stage is a Lady and her minuet is a more romantic model with some interesting twists of harmony; I would say our lady is young but with hidden depths. Echoes of bugle calls are heard alongside the cantering steps of the Cavalier's horse. The Page is formal with all the pomp of court whilst the soldier strides to a brash march. The Astrologer is portrayed by some meandering counterpoint with rising and falling chromatic phrases and open chords. A Troubador sings us out with an italianate song accompanied by strummed chords. In all these pieces Busoni delights in teasing us with harmonic changes, sliding between unrelated keys again and again or delicately spicing chords with piquant dissonances. After all the baroque style works that have gone before one might have expected Busoni to follow that trend for these medieval portraits; instead he comes right up to date giving us a much more personal rather than stylised view of these characters. The Improvvisata by Busoni's mother is in the style of an Italian aria. After a dramatic declamatory opening sets the scene the aria enters in a sorrowful minor key – I was reminded of Donizetti's una furtiva lagrima and you can imagine a tenor, hand on heart, beseeching the Gods to return his love to the strains of this tragic lay.
Listening to much of this music I remain astonished that a composer only half way through his teenage years could be so creative. The booklet admits that the mature Busoni said “as a child I wrote a lot and released many things prematurely” and was “ill-advised and inexperienced”. Despite this and with their avowed intent of turning “entirely unknown works into ones that are not quite so unknown” this is such a welcome project. I don't think I agree that this is a disc of masterpieces, early or otherwise as the set's title proclaims but there is so much more worthwhile music here than I expected. I would recommend the Préludes to anyone interested in piano music; there is a wealth of beauty and imagination contained within their pages and dipping into any of the suites would provide enjoyment for both pianist and listener. I enjoyed Groshopp's playing in the 4CD set of Busoni transcriptions from Capriccio (C7015 not reviewed) and I found the playing here to be of similar high quality. Much of this music abounds with technical difficulties and Groschopp takes them in his stride but is sensitive to the gentler side of things; just one example is the beautiful playing of the minuet that opens the Macchiette medioevali, full of charm and grace. Capriccio and Groschopp seem to be on a mission to document this unheard music so hopefully more of the “immature” Busoni will appear.
Rob Challinor
Contents
Una festa di villaggio Op.9, BV185 (1881) [21:38]
Marcia di paesani e contadine Op.32, BV193 (1882) [6:04]
24 Préludes pour le piano Op.37, BV181 (1880-81) [45:52]
Scherzo tratto dalla Sonata Op.8, BV62 (1877) [2:13]
Cinq pičces pour piano Op.3, BV71 (1877) [10:28]
Minuetto F-dur Op.14, BV77 (1878) [2:18]
Suite campestre Op.18, BV81 (1878) [10:47]
Preludio e Fuga Op.21, BV85 (1878) [4:49]
Gavotte Op.25, BV89 (1878) [4:06]
Racconti fantastici Op.12, BV100 (1878) [9:02]
Menuetto capriccioso Op.61, BV124 (1879) [2:32]
Danze antiche Op.11, BV126 (1878/79) [11:47]
Gavotte Op.70, BV152 (1880) [3:05]
Tre pezzi nello stile antico Op.10, BV159 (1880) [8:00]
Preludio e fuga op.36, BV180 (1881) [6:53]
Trois morceaux BV197 (1882?) [14:17]
Danza notturna Op.13, BV189 (1882) [3:48]
Macchiette medioevali Op.33, BV194 (1882-83) [11:51]
