Busoni as Pianist, 73. ciltUniversity Rochester Press, 2010 - 172 sayfa Ferruccio Busoni is most widely known today as the composer of such works as the Second Violin Sonata, the incidental music for Gozzi's Turandot, and the most monumental piano concerto in the repertory (some eighty minutes long, with male chorus in the finale). But Busoni was also renowned in his day as an author and pedagogue and, most especially, as a pianist. Busoni's recordings of pieces by Chopin and Liszt -- and of his own arrangements of keyboard works by Bach and Beethoven -- are much prized and studied today by connoisseurs of piano playing. Yet even his most important biographers have cast only a cursory glance at the pianistic aspect of Busoni's fascinating career. Grigory Kogan's book Busoni as Pianist (published in Russian in 1964, and here translated for the first time) was and remains the first and only study to concentrate exclusively on Busoni's contributions to the world of the piano. Busoni as Pianist summarizes reviews of Busoni's playing and his own writings on the subject. It also closely analyzes the surviving piano roles and recordings, and examines Busoni's editions, arrangements, and pedagogical output. As such, it will be of interest to pianists, teachers and students of the piano, historians, and all who love piano music and the art of piano playing. Grigory Kogan (1901-1979) was a leading Soviet pianist and music critic. A conservatory professor at the age of twenty-one, Kogan created the first-ever course in Russia dealing with the history and theory of pianism. Through his brilliant lectures, his concert performances, and his many books, articles, and reviews, Kogan influenced an entire generation of Soviet pianists. Svetlana Belsky is a teacher and performer, and is coordinator of Piano Studies at the University of Chicago. |
İçindekiler
Introduction | 3 |
Busonis childhood and youth 186688 | 7 |
Finland and Moscow 188994 | 13 |
Busonis emergence as a great pianist | 17 |
Piano orchestration tone production | 19 |
An antiRomantic approach | 23 |
Busonis interpretation of Beethoven Liszt and Chopin | 27 |
Busonis interpretations Textural liberties | 33 |
Fingering pedal | 73 |
Compositions transcriptions editions teaching writings | 82 |
Busonis esthetics | 92 |
Busonis esthetics continued | 98 |
World War I Operas | 101 |
Busonis final years 191824 | 108 |
Conclusion | 112 |
Annotated Discography | 115 |
Busonis interpretations of Bach Articulation | 38 |
Rhythm and dynamics | 43 |
Busonis recording of the Liszts Rigoletto Paraphrase | 47 |
Technical phrasing | 55 |
Technical variants | 60 |
Notes | 121 |
159 | |
166 | |
167 | |
Sık kullanılan terimler ve kelime öbekleri
according Additional appeared artist Bach became become Beethoven began beginning Berlin Chapter character Chopin complete composer composition concert contemporary course creative critics culture edition Einheit der Musik English entire equally especially essay Essence of Music Etudes example expression famous Fantasia contrappuntistica feeling Ferruccio Busoni first German given hand Hofmann human idea important included individual interest interpretation Italian Italy Kogan later letter listener Liszt lived master material means method Moscow musicians nature necessary never November opera organ original passage performance phrasing pianist piano piano playing pieces playing possible Prelude Press principle published question Quoted recordings remained remarkable Russian seems Shostakovich Sonata sound Soviet student technical technique thought tion Trans transcriptions understand variants Well-Tempered Clavier writer wrote young