Aside from the violin Chaconne (HN 557) and the ten Chorale Preludes for organ (HN 1293), the Prelude and Fugue in D major ranks among the best-known piano transcriptions Busoni fashioned from J. S. Bach’s works. Considerable evidence suggests that he viewed these three pieces as paradigmatic examples of his transcription technique. Busoni’s explicit labelling of the Prelude and Fugue “for concert performance” in the title already serves as an indication of the heightened virtuosic requirements. And, indeed, here Busoni demands that the pianist have perfectly mastered the keyboard, always with the aim of delegating to the piano, effectively but still in the spirit of Bach, the mighty sound-world of the organ work. This Urtext edition is heartily recommended to all those pianists who have ever wanted, finally, to pull out all the stops on the piano.
- 难度级别 (说明)
The piano arrangement of Johann Sebastian Bach’s (1685 – 1750) Prelude and Fugue in D major BWV 532 by Ferruccio Busoni (1866 – 1924) apparently had its origins in spring 1888. If we discount an earlier “attempt at transcription” of the organ chorale Aus tiefer Not (see G. Henle Verlag’s edition HN 1293), then this is the very first of Busoni’s Bach … 更多
Important composer, pianist, conductor, and music essayist who advocated for classicality and classicism in a mode of thought aligned with progress. In addition, he adapted and transcribed quite a few works, especially those of Johann Sebastian Bach.
|1866||Born in Empoli on April 1, the son of a clarinetist and a pianist. His parents foster his musical education. Prodigy: early career as a pianist.|
|1887||String Quartet in D minor, Op. 26.|
|from 1888||Piano instructor in Helsinki, Moscow, and Boston.|
|1890||Participates in the piano and composition categories of the Rubinstein Competition in St. Petersburg with his Sonata No. 1 in E minor, for violin and piano, Op. 29; the Two Pieces for Piano, Op. 30a; and Konzertstück for Piano and Orchestra, Op. 31a. This last piece wins the first prize in composition.|
|1894||Moves to Berlin.|
|1897/1904||Comedy Overture, Op. 38.|
|1903–04||Concerto, Op. 39, for piano, orchestra, and male choir in five movements with a concluding choral movement.|
|1907||Essay: “Sketch of a New Esthetic of Music.”|
|1909||“Berceuse élégiaque,” Op. 42.|
|1909–10||Second tour of America.|
|1910||“Fantasia contrappuntistica” for piano as an attempt to find a conclusion for Bach’s “Art of Fugue.”|
|1912||Performance in Hamburg of his opera “Die Brautwahl” (“The Bridal Choice”).|
|1913||Director of the Liceo Musicale in Bologna.|
|1915||Rondò arlecchinesco, Op. 46.|
|1915–20||Living in Zurich, due to the war.|
|1917||Performances in Zurich of his operas “Turandot” and “Arlecchino”; they draw upon the Commedia dell’arte.|
|1920||Director of a master class at the Prussian Arts Academy in Berlin. Tanzwalzer, Op. 53.1922 Essay “On the Unity of Music.”|
|1924||Dies in Berlin on July 27.|
|1925||Posthumous performance in Dresden of his opera “Doktor Faust.”|
Henle biedt een overzichtelijke, geheel volgens de huidige normen vormgegeven tekst in een prettig openslaand cahier. Met het oog op de studietijd die deze bewerking zelfs van zeer gevorderde pianisten vergt, is een dergelijk handzame vormgeving bepaald gewenst te noemen.