{"title":"Ferruccio Busoni","description":null,"products":[{"product_id":"walter-conducts-brahms-and-busoni","title":"Walter, Morini y Busch: Brahms y Busoni — Conciertos para violín","description":"\u003cp\u003e\u003cstrong\u003eBruno Walter\u003c\/strong\u003e acompaña a dos grandes violinistas: \u003cstrong\u003eErica Morini\u003c\/strong\u003e en el \u003cstrong\u003eConcierto para violín en re mayor, op. 77\u003c\/strong\u003e de Brahms con la New York Philharmonic Orchestra, y \u003cstrong\u003eAdolf Busch\u003c\/strong\u003e en el \u003cstrong\u003eConcierto para violín, op. 35a\u003c\/strong\u003e de Busoni con la Royal Concertgebouw Orchestra.\u003c\/p\u003e\u003ch2\u003eEdición digital Capsa Symphōnĭa\u003c\/h2\u003e\u003cp\u003eDisponible como \u003cstrong\u003eFile PCM 44.1kHz • 16bit — CD Resolution\u003c\/strong\u003e.\u003c\/p\u003e\u003ch2\u003eLista de pistas\u003c\/h2\u003e\u003cp\u003e\u003cstrong\u003eBrahms — Concierto para violín, op. 77\u003c\/strong\u003e\u003cbr\u003e01 — I. Allegro non troppo\u003cbr\u003e02 — II. Adagio\u003cbr\u003e03 — III. Allegro giocoso, ma non troppo vivace\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eBusoni — Concierto para violín, op. 35a\u003c\/strong\u003e\u003cbr\u003e04 — I. Allegro moderato\u003cbr\u003e05 — II. Quasi andante\u003cbr\u003e06 — III. Allegro impetuoso\u003c\/p\u003e\u003ch2\u003eCréditos\u003c\/h2\u003e\u003cp\u003e\u003cstrong\u003eDirector:\u003c\/strong\u003e Bruno Walter\u003cbr\u003e\u003cstrong\u003eViolines:\u003c\/strong\u003e Erica Morini; Adolf Busch\u003cbr\u003e\u003cstrong\u003eOrquestas:\u003c\/strong\u003e New York Philharmonic Orchestra; Royal Concertgebouw Orchestra\u003cbr\u003e\u003cstrong\u003eCompositores:\u003c\/strong\u003e Johannes Brahms; Ferruccio Busoni\u003cbr\u003e\u003cstrong\u003eEdición:\u003c\/strong\u003e Capsa Symphōnĭa — CS559\u003c\/p\u003e\u003cp\u003e\u003ca href=\"\/es\/collections\/capsa-symphonia\"\u003eDescubre la colección Capsa Symphōnĭa\u003c\/a\u003e\u003c\/p\u003e\u003ch2\u003e¿Qué son DSD y DXD?\u003c\/h2\u003e\u003cp\u003e\u003cstrong\u003eDSD (Direct Stream Digital)\u003c\/strong\u003e es un sistema digital de 1 bit basado en modulación por densidad de pulsos. DSD64 funciona aproximadamente a \u003cstrong\u003e2,8 MHz\u003c\/strong\u003e, DSD128 a \u003cstrong\u003e5,6 MHz\u003c\/strong\u003e y DSD256 a \u003cstrong\u003e11,2 MHz\u003c\/strong\u003e. La reproducción requiere un DAC o reproductor compatible.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eDXD (Digital eXtreme Definition)\u003c\/strong\u003e es un formato PCM de muy alta resolución; en la versión propuesta funciona a \u003cstrong\u003e352,8kHz\u003c\/strong\u003e. También nació como entorno profesional de edición y posproducción y requiere un DAC o reproductor compatible.\u003c\/p\u003e","brand":"Capsa Symphōnĭa","offers":[{"title":"ARCHIVO CD 44.1kHz • 16bit","offer_id":51086348878171,"sku":"CS559-44","price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/1016\/6580\/files\/covercbh_bd92828b-33ca-478c-9e51-83a81f1d1b67.png?v=1754044709"},{"product_id":"musical-landscapes-and-avant-garde-visions-busoni-mariotti","title":"PAISAJES MUSICALES Y VISIONES DE VANGUARDIA | Busoni, Mariotti","description":"\u003ch1 itemprop=\"name\" class=\"h1 namne_details\"\u003eMUSICAL LANDSCAPES AND AVANT-GARDE VISIONS\u003c\/h1\u003e\n\u003ch2\u003e\u003cspan\u003eFerruccio Busoni\u003c\/span\u003e\u003c\/h2\u003e\n\u003cdiv class=\"product-prices js-product-prices\"\u003e\n\u003cdiv itemtype=\"https:\/\/schema.org\/Offer\" itemscope=\"\" itemprop=\"offers\" class=\"product-price h5\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp\u003eAvailable in: DSD, Hi-Res Audio\u003c\/p\u003e\n\u003cp lang=\"en-US\" class=\"western\"\u003e\u003cstrong\u003eTrack list:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSuite Campestre Op. 18\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eKind. 81 (1878)\u003c\/p\u003e\n\u003cp\u003e1 Canzone Villereccia del Mattino\u003cbr\u003e2 La Caccia\u003cbr\u003e3 L‘Orgia\u003cbr\u003e4 II ritorno\u003cbr\u003e5 Preghiera della sera\u003c\/p\u003e\n\u003cp\u003e6\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eFantasia nach Johann Sebastian Bach\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eKind. 253 (1909)\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eIndianisches Tagebuch\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eKind. 267 (1915)\u003cbr\u003e7 Allegretto affettuoso, un poco agitato\u003cbr\u003e8 Vivace\u003cbr\u003e9 Andante\u003cbr\u003e10 Maestoso ma andando\u003c\/p\u003e\n\u003cp\u003e11\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eSonatina seconda\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eKind. 259 (1912)\u003c\/p\u003e\n\u003cp\u003e12\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eVierte Ballet-Szene Op. 33a\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eKind. 238 (1892)\u003c\/p\u003e\n\u003cp\u003e13\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eSonatina in diem nativitatis Christi MCMXVII\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eKind. 274 (1917)\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDrei Albumblätter\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eKind. 289 (1917 - 1921)\u003cbr\u003e14 (Zürich) Andantino sostenuto\u003cbr\u003e15 (Roma) Andante\u003cbr\u003e16 (Berlin) In der Art eines Choralvorspiels. Sostenuto religioso\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003ciframe style=\"font-size: 0.875rem;\" src=\"https:\/\/widget.qobuz.com\/album\/td948kq8eftja?zone=IT-it\" width=\"378\" height=\"104\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eNotes\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv itemprop=\"description\" class=\"product-description-short\" id=\"product-description-short-760\"\u003e\n\u003cdiv class=\"product-description\"\u003e\n\u003cdiv class=\"WordSection2\"\u003e\n\u003cp\u003eFerruccio Busoni's Leonardesque figure stands imposingly in the musical landscape at the turn of the two centuries. A frantic activity as a man and musician was the characteristic that accompanied him throughout his life, and his universal genius allowed him to reach absolute artistic peaks, even if often unrecognized. His virtuosity, impressive for speed and power but never showy or an end in itself, and his avant-garde and highly original musical imagination were legendary. From his youth, he was adored by the public, often leaving critics bewildered. His compositions, especially the later ones, are among the most significant and ingenious of his time: not only his piano works but also, and above all, those for orchestra and the operatic stage had a considerable influence on an entire generation of musicians. He genuinely endeavored to disseminate, through performances, revisions, and critical articles, the works of his contemporary composers (such as those of Arnold Schoenberg, who succeeded him in the composition chair at the Berlin Musikakademie). His literary background and subtle, acute mind allowed him to prepare librettos for his own operas and to maintain epistolary relationships with the greatest personalities of his time, in addition to publishing several fundamental writings. The most significant of these, the \"Sketch of a New Aesthetic of Music\" from 1907, contains ingenious insights into the dodecaphonic system, microtonality, new notation systems, and even hints of electronic music. He was also an inspirer of new instruments, such as the Viennese Bösendorfer Imperial model piano used for this recording, and originally built for him. The characteristic pieces of the Suite Campestre, composed at the age of twelve, clearly take Schumann's Album for the Young as a model. They reflect the late romantic idealization of rural life. In Preghiera della sera, certain mystical atmospheres emerge and a polyphonic writing of clear Bachian ancestry, elements so beloved by the mature Busoni. The Fantasia nach (after) Johann Sebastian Bach was composed in memory of his father Ferdinando. Although based on three organ compositions by Bach, about half of the piece consists of original material. The continuous alternation of minor and major sections well expresses both the emotional and tonal progression of the entire piece. The melancholy of the beginning turns into pacification at the end: the score significantly bears the inscription PAX EI! on the last page. The New World, visited several times during tours, held great fascination for Busoni. The songs and melodies of Native Americans left an indelible impression on him, leading him to compose a fantasy for piano and orchestra from which he drew the suite Indianisches Tagebuch (Indian Diary). The themes are almost literal transcriptions of Native American motifs, treated according to the schemes of Western music, yet with penta- and hexatonic inflections typical of those populations. The term Sonatina refers to the dimensions and form, not to their difficulty. The return to simple and clear compositional schemes (codified by Busoni in his idea of \"new classicism\") and the often intimate character of the Sonatinas are in clear contrast with previous compositions. The Sonatina seconda, almost an exception, represents his atonal experiment, following Schoenberg's example. New elements appear, such as the lack of bar indications for long stretches or a new way of understanding accidentals. The unstable, chaotic, brutal character reflects that of Umberto Boccioni's painting \"The City Rises,\" owned by Busoni and from which he was inspired. The Sonatina in diem nativitatis Christi, with its calm, serene simplicity, perfectly represents the model of \"new classicism.\" Christmas bells, Chorales, the mystical atmosphere, and also the pipers are inserted into a fine polyphonic texture, archaic and suggestive. The Vierte Ballett-Szene (Fourth Ballet Scene) of 1892 is almost a tribute to Johann Strauss and his Waltzes, in the sign of brilliant and salon virtuosity then in vogue. The last compositions are closely related to Busoni's unfinished opera, Doktor Faust, in which themes were often developed and matured in his piano works. The Drei Albumblätter (Three Album Leaves), thoughtful and melancholic, reflect the composer's state of mind after the horrors of the First World War. The first, algid and crystalline, displays refined harmonic solutions and a subtle, intimate rhythmic charge. The second, a fugato, is an extremely abstract and mysterious page, while the third returns to Bachian reminiscences with the chorale \"Christ lag in Todesbanden\" (Christ lay in death's bonds).\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eGiuseppe Mariotti\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Fonè","offers":[{"title":"DSD 64","offer_id":52898084225371,"sku":"DSD9511","price":20.0,"currency_code":"EUR","in_stock":true},{"title":"WAV 96kHz · 24bit","offer_id":52898084258139,"sku":"HD9511","price":20.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/1016\/6580\/files\/SR9511sleeve.jpg?v=1777539544"},{"product_id":"transformation-and-transfigurations-busoni-mariotti","title":"TRANSFORMACIÓN Y TRANSFIGURACIONES | Busoni, Mariotti","description":"\u003ch1 class=\"h1 namne_details\" itemprop=\"name\"\u003eTRANSFORMATION AND TRANSFIGURATIONS\u003c\/h1\u003e\n\u003ch2\u003e\u003cspan\u003eFerruccio Busoni\u003c\/span\u003e\u003c\/h2\u003e\n\u003cdiv class=\"product-prices js-product-prices\"\u003e\n\u003cdiv class=\"product-price h5\" itemprop=\"offers\" itemscope=\"\" itemtype=\"https:\/\/schema.org\/Offer\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp\u003eAvailable in: DSD, Hi-Res Audio\u003c\/p\u003e\n\u003cp class=\"western\" lang=\"en-US\"\u003e\u003cstrong\u003eTrack list:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e1\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eSonatina Brevis. In signo Johannis Sebastiani Magni\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eKind. 280 (1918)\u003c\/p\u003e\n\u003cp\u003e4\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eElegien\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eKind. 249 (1907)\u003cbr\u003e2 Nr. 2 All’Italia. In modo napolitano (Andante barcarolo)\u003cbr\u003e3 Nr. 1 Nach der Wendung. Recueillement (Sostenuto, quasi Adagio)\u003cbr\u003e4 Nr. 4 Turandots Frauengemach. Intermezzo (Andantino sereno - Più vivo e distaccato e ritmato)\u003cbr\u003e5 Nr. 7 Berceuse (Andantino calmo)\u003c\/p\u003e\n\u003cp\u003e6\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eSonatina super “Carmen”\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eKind. 284 (1920) Kammer-Fantasie über Bizets Carmen\u003c\/p\u003e\n\u003cp\u003e7\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eChoral Vorspiel über ein Bachsches Fragment\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eKind. 256a (1912)\u003c\/p\u003e\n\u003cp\u003e8\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eNuit de Noel. Esquisse pur le piano\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eKind. 251 (1908)\u003c\/p\u003e\n\u003cp\u003e9\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eToccata. Preludio - Fantasia - Ciaccona\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eKind. 287 (1920)\u003cbr\u003eQuasi Presto, arditamente - Sostenuto, quasi Adagio - Allegro risoluto\u003c\/p\u003e\n\u003cp\u003e\u003ciframe style=\"font-size: 0.875rem;\" height=\"104\" width=\"378\" src=\"https:\/\/widget.qobuz.com\/album\/fgcdemdoskzvb?zone=IT-it\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eNotes\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv id=\"product-description-short-760\" class=\"product-description-short\" itemprop=\"description\"\u003e\n\u003cdiv class=\"product-description\"\u003e\n\u003cdiv class=\"WordSection2\"\u003e\n\u003cp\u003eThe Leonardesque figure of Ferruccio Busoni stands imposingly in the musical landscape straddling the two centuries. A frantic activity as a man and a musician characterized his entire life, and his universal genius allowed him to reach absolute artistic heights, even if often unrecognized. His virtuosity, impressive in speed and power but never ostentatious or an end in itself, and his avant-garde and highly original musical imagination were legendary. From a young age, he was adored by the public, often baffling critics. His compositions, especially the later ones, are among the most significant and brilliant of his time: not only his piano works but also, and above all, those for orchestra and the operatic stage had a considerable influence on an entire generation of musicians. He sincerely strove to disseminate the works of his contemporary composers (such as Arnold Schoenberg, who succeeded him in the composition chair at the Musikakademie in Berlin) through performances, revisions, and critical articles. His literary background and subtle, acute mind enabled him to prepare librettos for his own operas and maintain epistolary relationships with the leading figures of his time, in addition to publishing several fundamental writings. The most significant of these, the Sketch of a New Esthetic of Music from 1907, contains brilliant insights into the dodecaphonic system, microtonality, new notation systems, and even hints of electronic music. He was also an inspiration for new instruments, such as the Viennese Bösendorfer Imperial model piano used for this recording, and originally built for him. The years from 1895 to 1907 mark a period of reflection in Busoni's piano output. His considerable commitments as a concert pianist almost overshadowed his composing, yet they fostered a new language, expressed for the first time in the Elegien. With these, the most fruitful and stimulating artistic period began, which Busoni himself called his \"third style,\" and whose works are no longer marked by an opus number. The new expressive means of the Elegien stem from late-Romantic Brahmsian and Lisztian sonorities, refined, however, by new, brilliant insights of an Impressionistic and Expressionistic character. The sonic experiments, simple tonal chords juxtaposed with jarring dissonances, pure tonality alongside bitonality, constitute the major revelation of the Elegien. All'Italia, a tribute to his native country rich in popular song citations, shows the expressive use of dissonances, superimposed tonalities, and the juxtaposition of shifting, almost Debussyian pianistic colors (for this recording, the unpublished version of the finale prepared for Egon Petri in 1917 was used). The Intermezzo Turandots Frauengemach (Turandot's Harem) is one of Busoni's most famous pieces. The celebrated melody of \"Greensleeves,\" with its ambiguous tonal character, is well suited to the new musical conceptions. Nach der Wendung (After the Transformation), similarly, expresses its enigmatic nocturnal character through the tension released by the alternation of the very distant keys of C and F-sharp throughout the piece. The Berceuse offers a further glimpse into Busoni's aesthetic universe: the concept of eternity, of the so-called \"Omnipresence of Time.\" Close to the Elegien is Nuit de Noël, with its Impressionistic colors, imitations of bells, and Christmas carols. In 1910, Busoni's largest and most important piano composition, the Fantasia Contrappuntistica, was published, based on J. S. Bach's Art of Fugue. The Choral Vorspiel über ein Bachsches Fragment (Chorale Prelude on a Bach Fragment) from two years later represents a kind of smaller version of the Fantasia Contrappuntistica, based roughly on the same themes but of minimal dimensions. By the composer's own admission, the piece was conceived more for didactic purposes than for public performance. The term Sonatina refers to their size and form, not their difficulty. The return to simple and clear compositional schemes (codified by Busoni in his idea of \"new classicism\") and the often intimate character of the Sonatinas are in stark contrast to his earlier compositions. The Sonatina Brevis. In signo Johannis Sebastiani Magni is in fact a free arrangement of the Fantasy and Fugue in D minor BWV 905, almost a homage to the great Johann Sebastian on the margins of Busoni's gigantic work of revising Bach's clavier works for Breitkopf in those years. The most famous of the Sonatinas, the Sonatina super \"Carmen\" has nothing in common with Lisztian paraphrases on opera arias. Bizet's famous melodies are not debased or vulgarized, but rather treated as autonomous themes within the free sonata form. A subtle irony and sense of bitterness permeate the brilliant musical texture: the tragic and ironic ending is singular. The last compositions are closely related to Busoni's unfinished opera, Doktor Faust, in which themes were often developed and matured in his piano works. The Toccata is his last important work for piano. The piece is imbued with the themes and strong, dark hues of Doktor Faust; the tripartite structure consists of monolithic, well-defined sections, in which it is not difficult to recognize Faustian (Prelude) and Mephistophelean (Ciaccona) aspects juxtaposed with lyrical ones. The severity and nervous tension, combined with incredible technical difficulty, make the Toccata one of the absolute pinnacles of Ferruccio Busoni's output. The Frescobaldian motto inscribed next to the title is a warning to performers, whose truth was well known to Busoni: \"It is not without difficulty that one reaches the end.\"\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eGiuseppe Mariotti\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Fonè","offers":[{"title":"DSD 64","offer_id":52898213593435,"sku":"DSD9512","price":20.0,"currency_code":"EUR","in_stock":true},{"title":"WAV 96kHz · 24bit","offer_id":52898213626203,"sku":"HD9512","price":20.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/1016\/6580\/files\/SR9512sleeve.jpg?v=1777540217"},{"product_id":"supreme-art-of-counterpoint-and-bold-innovation-busoni-mariotti","title":"ARTE SUPREMO DEL CONTRAPUNTO Y BOLD INNOVATION | Busoni, Mariotti","description":"\u003ch1 itemprop=\"name\" class=\"h1 namne_details\"\u003eSUPREME ART OF COUNTERPOINT AND BOLD INNOVATION\u003c\/h1\u003e\n\u003ch2\u003e\u003cspan\u003eFerruccio Busoni\u003c\/span\u003e\u003c\/h2\u003e\n\u003cdiv class=\"product-prices js-product-prices\"\u003e\n\u003cdiv itemtype=\"https:\/\/schema.org\/Offer\" itemscope=\"\" itemprop=\"offers\" class=\"product-price h5\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp\u003eAvailable in: DSD, Hi-Res Audio\u003c\/p\u003e\n\u003cp lang=\"en-US\" class=\"western\"\u003e\u003cstrong\u003eTrack list:\u003c\/strong\u003e\u003c\/p\u003e\n\u003ch5\u003eSupreme Art of Counterpoint and bold Innovation\u003c\/h5\u003e\n\u003cp\u003e\u003cstrong\u003eMacchiette Medioevali\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eOp. 33 Kind. 194 (1895)\u003c\/p\u003e\n\u003cp\u003e1 Lady\u003cbr\u003e2 Knight\u003cbr\u003e3 Page\u003cbr\u003e4 Warrior\u003cbr\u003e5 Astrologer\u003cbr\u003e6 Troubadour\u003c\/p\u003e\n\u003cp\u003e7\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eFantasia contrappuntistica\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eKind. 256 (1910)\u003c\/p\u003e\n\u003cp\u003e8\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eZehn Variationen über ein Präludium von Chopin Op. 22\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e(2. Version) Kind. 213a (1922) \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003ciframe style=\"font-size: 0.875rem;\" src=\"https:\/\/widget.qobuz.com\/album\/a7bf9jrxtxq5b?zone=IT-it\" width=\"378\" height=\"104\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eNotes\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv itemprop=\"description\" class=\"product-description-short\" id=\"product-description-short-760\"\u003e\n\u003cdiv class=\"product-description\"\u003e\n\u003cdiv class=\"WordSection2\"\u003e\n\u003cdiv class=\"row\"\u003e\n\u003cdiv id=\"content-wrapper\" class=\"col-xs-12\"\u003e\n\u003csection id=\"main\" itemscope=\"\" itemtype=\"https:\/\/schema.org\/Product\"\u003e\n\u003cdiv class=\"row\"\u003e\n\u003cdiv class=\"col-xs-12\"\u003e\n\u003cdiv id=\"product-tab\" class=\"tabs\"\u003e\n\u003cdiv class=\"tab-content\" id=\"tab-content\"\u003e\n\u003cdiv class=\"tab-pane fade in active\" id=\"description\" role=\"tabpanel\"\u003e\n\u003cdiv class=\"product-description\"\u003e\n\u003cp\u003eThe multifaceted figure of Ferruccio Busoni stands imposingly in the musical landscape at the turn of the two centuries. A frenetic activity as a man and as a musician was the characteristic that accompanied him throughout his life, and his universal genius allowed him to reach absolute artistic heights, even if often unrecognized. His virtuosity, impressive for its speed and power but never showy or an end in itself, and his avant-garde and highly original musical imagination were legendary. From his youth, he was adored by the public, often leaving critics bewildered. His compositions, especially the later ones, are among the most significant and ingenious of his time: not only his piano works but also, and above all, those for orchestra and the operatic stage had a considerable influence on an entire generation of musicians. He sincerely strove to disseminate, through performances, revisions, and critical articles, the works of his contemporary composers (such as those of Arnold Schoenberg, who succeeded him in the composition chair at the Musikakademie in Berlin). His literary education and his subtle and acute mind allowed him to prepare the librettos for his own operas and to maintain epistolary relationships with the greatest personalities of his time, in addition to publishing some fundamental writings. The most significant of these, the \"Sketch of a New Aesthetic of Music\" from 1907, contains brilliant insights into the dodecaphonic system, microtonality, new notation systems, and even hints of electronic music. He was also an inspirer of new instruments, such as the Viennese Bösendorfer Imperial model piano used for this recording, and originally built for him. The characteristic pieces of the \"Macchiette Medioevali\" clearly take Schumann's \"Album for the Young\" as a model. They reflect the late Romantic idealization of courtly life in the Middle Ages. In \"The Astrologer,\" certain mystical atmospheres and a polyphonic writing of clear Bachian ancestry emerge, elements so beloved by the mature Busoni. In 1910, Busoni's largest and most important piano composition saw the light: the \"Fantasia contrappuntistica,\" which is based on J. S. Bach's \"Art of Fugue.\" Busoni's Variations on the Chorale \"Allein Gott in der Höh sei Ehr\" (\"All Glory to God in the Highest\") precede the three fugues of Contrapunctus XIX, unfinished by Bach and slightly modified by Busoni. This is completed with an extended fugue, followed by a mystical and visionary intermezzo, then three variations in which the main themes reappear. A cadenza with large arpeggios prepares the fourth fugue, in which all themes are simultaneously combined in a massive six-part polyphony. Over an ostinato bass, the opening chorale reappears transfigured, then a stretta leads to the finale, of extraordinary grandeur and power. Busoni's intention is not to create a transcription, a form for which, to his regret, he was more famous than as a composer, but rather to present the original work rethought and mediated by his great musical personality. Intended for the concert hall, however, are the \"Zehn Variationen über ein Präludium von Chopin\" (Ten Variations on a Chopin Prelude). The model is clearly Brahmsian. The second version, presented here, corrects certain youthful excesses and gains in expressive depth, without neglecting the concert performance.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cfooter class=\"page-footer\"\u003e\u003c\/footer\u003e\u003c\/section\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cem\u003eGiuseppe Mariotti\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Fonè","offers":[{"title":"DSD 64","offer_id":52898277720411,"sku":"DSD9513","price":20.0,"currency_code":"EUR","in_stock":true},{"title":"WAV 96kHz · 24bit","offer_id":52898277753179,"sku":"HD9513","price":20.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/1016\/6580\/files\/SR9513sleeve.jpg?v=1777540760"},{"product_id":"tra-mistero-e-occulto-busoni-mariotti","title":"TRA MISTICO E OCCULTO | Busoni, Mariotti","description":"\u003ch1 class=\"h1 namne_details\" itemprop=\"name\"\u003eBETWEEN MYSTICAL AND OCCULT\u003c\/h1\u003e\n\u003ch2\u003e\u003cspan\u003eFerruccio Busoni\u003c\/span\u003e\u003c\/h2\u003e\n\u003cdiv class=\"product-prices js-product-prices\"\u003e\n\u003cdiv class=\"product-price h5\" itemprop=\"offers\" itemscope=\"\" itemtype=\"https:\/\/schema.org\/Offer\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp\u003eAvailable in: DSD, Hi-Res Audio\u003c\/p\u003e\n\u003cp class=\"western\" lang=\"en-US\"\u003e\u003cstrong\u003eTrack list:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e1\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eSonatina seconda\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eKind. 259 (1912)\u003c\/p\u003e\n\u003cp\u003e2\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eSonatina in diem nativitatis Christi MCMXVII\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eKind. 274 (1917)\u003c\/p\u003e\n\u003cp\u003e3\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eToccata. Preludio - Fantasia - Ciaccona\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eKind. 287 (1920) Quasi Presto, arditamente - Sostenuto, quasi Adagio - Allegro risoluto\u003c\/p\u003e\n\u003cp\u003e4\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eBerceuse\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e(Andantino calmo) Kind. 252 (1909)\u003c\/p\u003e\n\u003cp\u003e5\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eFantasia contrappuntistica\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eKind. 256 (1910)\u003c\/p\u003e\n\u003ch5\u003e\u003ciframe style=\"font-size: 0.875rem;\" height=\"104\" width=\"378\" src=\"https:\/\/widget.qobuz.com\/album\/k75fnylllzrrc?zone=IT-it\"\u003e\u003c\/iframe\u003e\u003c\/h5\u003e\n\u003cp\u003e\u003cstrong\u003eNote\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv id=\"product-description-short-760\" class=\"product-description-short\" itemprop=\"description\"\u003e\n\u003cdiv class=\"product-description\"\u003e\n\u003cdiv class=\"WordSection2\"\u003e\n\u003cdiv class=\"row\"\u003e\n\u003cdiv class=\"col-xs-12\" id=\"content-wrapper\"\u003e\n\u003csection itemtype=\"https:\/\/schema.org\/Product\" itemscope=\"\" id=\"main\"\u003e\n\u003cdiv class=\"row\"\u003e\n\u003cdiv class=\"col-xs-12\"\u003e\n\u003cdiv class=\"tabs\" id=\"product-tab\"\u003e\n\u003cdiv id=\"tab-content\" class=\"tab-content\"\u003e\n\u003cdiv role=\"tabpanel\" id=\"description\" class=\"tab-pane fade in active\"\u003e\n\u003cdiv class=\"product-description\"\u003e\n\u003cp\u003eBusoni's revolutionary 1906 essay, “Entwurf einer neuen Ästhetik der Tonkunst” (Sketch of a New Aesthetic of Music), which caused such a stir in the European musical world of those years, bears in its dedication the name of the poet Rainer Maria Rilke, \"musician of words,\" from whose works the composer had drawn the title and character of the Elegies. Romanticism had already signaled a return to ancient mystical ideas, and with the turn of the century, a period rife with decadent expressions and tragic premonitions, mysticism found enthusiastic proponents like M. Maeterlinck, P. Claudel, and, in the German-speaking world, R. M. Rilke. Sartre wrote: \"...the West was suffocating... Since it had no visible enemies, the bourgeoisie began to feed on the fear of its own shadow... there was talk of spiritualism and ectoplasms, the Beyond seemed so near...\". The arcane disciplines began to exert a considerable influence on Busoni during those years. He attended seances and became interested in occultism, spiritualism, and clairvoyance. He formulated theories about the faculty of seeing ghosts: man would possess the ability to see - for very brief instants - into the future or the past. \"...It would be nothing more than a momentary and uncertain glance cast - into the present or the past. Everything proceeds in the form of a circle, and so it must be for clairvoyance. It is a phenomenon analogous to what occurs in a radiotelegraphic station, which transmits to the same distance in all directions...\". In a similar way, he explained his convictions regarding extrasensory perceptions: we can therefore reasonably deduce that Busoni believed in the existence of entities and forces not rationally or empirically explicable, which, however, it would be possible to know and perhaps master, in his case also through musical experience. During his American tours, Busoni came into contact with the theosophical doctrines developed in the United States at the end of the century. These advocated a path of ethical and spiritual evolution which, through the progressive purification of motives and works, leads to the realization of an ideal of mystical perfection rich in all the attributes of wisdom, serenity, beauty, and power: one can easily trace the aesthetic foundations of the \"New Classicism\" (Junge Klassizität), in other words, the return to simple, clear, and beautiful compositional schemes that find full expression in the Sonatina in diem nativitatis Christi MCMXVII. In May 1912, Busoni purchased Umberto Boccioni's large futurist painting \"The City Rises\" in Berlin. The composition of the Sonatina seconda, his most avant-garde piece which contains a quantity of mystical and occult elements, dates back to May-July of the same year. As stated in his Berlin diary, \"at night, Boccioni in the music room, illuminated by the magical light penetrating from the square below, takes on a strange, magical appearance.\" It is not difficult to imagine the composer sitting in the dimly lit room, surrounded by Buddha statues, rare books, and \"The City Rises\" projecting its multicolored reflections. Just as the occult transcends spatial and temporal distinctions, through which the individual orientates himself in the real world, so Busoni often cancels bar lines, accidentals, and, especially, tonality: this realizes the manifestation in musical terms of what unfolds in the dark zones of his personality. This sensitivity to occultism and mysticism enormously enriched Busoni's language through the creation of new concepts and means of expression, and it was an essential ferment of his last creative phase, whose ultimate culmination is reached, in his piano production, by the Fantasia Contrappuntistica. Here are enclosed all the characterizing elements of Busoni's aesthetic thought. The ingenious union of modern musical language with the counterpoint of J. S. Bach's Art of Fugue generates a kind of mystical \"experience\" through which the inner movements of the soul gain predominance over rational thought, will, and consciousness. In a complex of daring harmonies and pure polyphony, the journey proceeds, elevating itself between moments of exaltation and mystery, visionary impulses or pensive episodes, deep meditations, and vague reflections. When music resonates, the human being is capable of acquiring a transcendental capacity that leads him to a new plane of consciousness, where the temporal world is submerged by the resonant universe. The musical work of art exists before and after it has finished resonating; it is simultaneously within and outside of time. It is this \"Omnipresence of Time,\" also present in the Berceuse, that synthesizes the ideal of mystical ecstasy idealized by Busoni: \"...we humans conceive of time as a line that starts from a point behind us and proceeds forward, while it must expand in all directions, like everything in the cosmic system...\". Only with the quietness of spirit, however, can we penetrate the deepest mysteries and aspire to a higher and fuller life, which is proper to human consciousness. \"Only he who looks forward has a joyful gaze,\" says Faust. The esoteric meaning of these principles was precisely expressed for the last time in the unfinished opera Dr. Faust, whose themes and strong colors impregnate the Toccata. The composer's high and lived spirituality made him well aware of embarking on a new path, full of consequences for 20th-century music. \"Still unexhausted are the symbols \/ that the omnipotent genius comprehends within himself; \/ the work will produce a school \/ that for decades will mature fruitfully. \/ May everyone draw their own teaching from it \/ so that Spirit is added to other Spirit: \/ this is the meaning of continuous ascent \/ the dance will then close its circle.\"\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eGiuseppe Mariotti\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/section\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Fonè","offers":[{"title":"DSD 64","offer_id":52898383954267,"sku":"DSD9607","price":20.0,"currency_code":"EUR","in_stock":true},{"title":"WAV 96kHz · 24bit","offer_id":52898383987035,"sku":"HD9607","price":20.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/1016\/6580\/files\/SR9607sleeve.jpg?v=1777541323"},{"product_id":"rossini-liviabella-busoni-duo-pianistico-dirani-amelotti","title":"ROSSINI, LIVIABELLA, BUSONI: DUO PIANISTICO | Dirani, Amelotti","description":"\u003ch1 class=\"h1 namne_details\" itemprop=\"name\"\u003eROSSINI, LIVIABELLA, BUSONI\u003c\/h1\u003e\n\u003ch1 class=\"h1 namne_details\" itemprop=\"name\"\u003eDuo pianistico\u003c\/h1\u003e\n\u003cdiv class=\"product-prices js-product-prices\"\u003e\n\u003cdiv class=\"product-price h5\" itemprop=\"offers\" itemscope=\"\" itemtype=\"https:\/\/schema.org\/Offer\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp\u003eDisponibile in: DSD, Hi-Res Audio\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTrack list:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eG. ROSSINI (1792 - 1868)\u003c\/p\u003e\n\u003cp\u003eMarcia (pas-redoublé) (*)\u003c\/p\u003e\n\u003cp\u003ePetite fanfare (*)\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eL. LIVIABELLA (1902 - 1964)\u003c\/p\u003e\n\u003cp\u003eSuite giocattolo (**)\u003c\/p\u003e\n\u003cp\u003eLa gocciolina\u003c\/p\u003e\n\u003cp\u003eIl tamburino\u003c\/p\u003e\n\u003cp\u003eValzer\u003c\/p\u003e\n\u003cp\u003eCucù\u003c\/p\u003e\n\u003cp\u003eLe campane (omaggio a Mussorgsky)\u003c\/p\u003e\n\u003cp\u003eCapriccetto finale\u003c\/p\u003e\n\u003cp\u003eRiderella (*)\u003c\/p\u003e\n\u003cp\u003eIl ruscello \u003c\/p\u003e\n\u003cp\u003eLa fuga nel mare\u003c\/p\u003e\n\u003cp\u003eLa città azzurra\u003c\/p\u003e\n\u003cp\u003eIl pianto di Riderella\u003c\/p\u003e\n\u003cp\u003eLa pietà del sole \u003c\/p\u003e\n\u003cp\u003eIl ruscello\u003c\/p\u003e\n\u003cp\u003eVoce recitante: Carla Corsi\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eF. BUSONI (1866 - 1924)\u003c\/p\u003e\n\u003cp\u003eMelodie Popolari Finlandesi op. 27 (**)\u003c\/p\u003e\n\u003cp\u003eAndante molto espressivo\u003c\/p\u003e\n\u003cp\u003eAndantino\u003c\/p\u003e\n\u003cp\u003e(*) Prima parte Paolo Dirani\u003c\/p\u003e\n\u003cp\u003e(**) Prima parte Ferruccio Amelotti\u003c\/p\u003e\n\u003cp\u003eDurata totale: 46’38”\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"https:\/\/widget.qobuz.com\/album\/yj5tosmyff56a?zone=IT-it\" width=\"378\" height=\"104\" style=\"font-size: 0.875rem;\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eNote\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eRecorded at Teatro Comunale di Budrio \u003c\/p\u003e\n\u003cp\u003eRecording date Budrio July 1992 \u003c\/p\u003e\n\u003cp\u003eGeneral producer Giulio Cesare Ricci \u003c\/p\u003e\n\u003cp\u003eRecording supervisor and sound engineer Giulio Cesare Ricci \u003c\/p\u003e\n\u003cp\u003eMusic consultant Annamaria Di Fabio \u003c\/p\u003e\n\u003cp\u003eEnglish translation Cecilia Sandroni \u003c\/p\u003e\n\u003cp\u003eTube microphone Neumann U-47 \u003c\/p\u003e\n\u003cp\u003eDigital tape recorder Teac R-1 \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eIl nome di GIOACHINO ROSSINI (Pesaro 1792 - Passy de Paris 1868) è rimasto legato alla produzione di musica operistica per la quale scrisse pagine incisive. La sua folgorante carriera teatrale procede dalla freschezza inventiva delle primissime opere alla sfrenata vitalità del Barbiere di Siviglia fino alla pensierosa pacatezza del Guglielmo Tell del 1829. Da questo momento ha inizio il cosiddetto \"silenzio\" del compositore durante il quale, per circa quarant'anni angustiato da problemi di salute che si ripresentavano a fasi alterne, egli si tenne lontano dal teatro. In realtà il suo silenzio fu solo apparente e la sua vecchiaia trascorse operosamente nella composizione di pagine di musica da camera, che egli stesso raccolse sotto il nome di Péchés de vieillesse, e nella elaborazione della Petite Messe Solennelle con soluzioni inedite. Il recupero rossiniano si è concretizzato solo nel Novecento e si sta realizzando ancora con la diffusione della produzione cameristica a cui i due brani proposti appartengono. \u003c\/p\u003e\n\u003cp\u003eLA MARCIA (Pas redoublé) per il sultano di Turchia Abdul Medjid (per cui Rossini venne insignito dell'ordine del Nicham-Iftihar) è musica strumentale del periodo fiorentino (1851-1855). Il brano, composto nel 1852, forse per orchestra, vide l'edizione ad opera di Ricordi nel 1853-54 nelle due versioni per pianoforte e per pianoforte a quattro mani. Presenta l'andamento regolare della marcia con il ritmo marcato in due tempi (2\/4). Dalla tonalità base in do maggiore, che si articola in toni di leggiadra frivolezza o di ironica rappresentazione, si passa all'episodio centrale in fa maggiore cui segue la ripresa nella tonalità d'impianto e la coda.\u003c\/p\u003e\n\u003cp\u003eLA PETITE FANFARE appartiene ai Péchés de vieillesse, un numero elevato di composizioni di musica da camera, soprattutto pianistiche e vocali, all'origine non destinate né alla pubblicazione né all'esecuzione in pubblico ma alle \"soirées\" che animavano la casa di Rossini della Chaussée d'Antin nell'ultimo periodo parigino (dal 1855 in poi). Le composizioni pianistiche dei Péchés si comprendono esclusivamente usando una chiave di lettura ironica e dissacrante. Gli stessi titoli presentano spesso ambiguità o smentiscono quanto i brani musicali affermano. Si tratta di una operazione psicologica a scopo difensivo: il compositore si sforza, con l'assunzione di atteggiamenti distaccati, di mimetizzare il confronto doloroso e traumatico con il mondo esterno. Il brano è costituito da un solo movimento, l’”Allegretto\" in mi bemolle maggiore, il cui motivo musicale, con gli accordi ripetuti, richiama musiche di caccia e militari (corni e legni). L'”excursus” centrale si limita ai toni vicini, il relativo minore e la sottodominante.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eLINO LIVIABELLA (Macerata 1902 - Bologna 1964) diplomatosi al Conservatorio di Santa Cecilia a Roma in Pianoforte, Organo e, con Respighi in Composizione, ottenne numerosi premi in Italia e all'estero per le sue composizioni, svolgendo anche un'intensa carriera didattica che lo vide, nella sua fase terminale, direttore dei Conservatori di Pesaro, Parma e Bologna. Lo stile di Liviabella accoglie la tendenza di Respighi, risolvendosi in immagini descrittive che si snodano sul terreno del cromatismo e della politonalità. Nella sua musica si individua il travaglio e la complessa ricerca della nostra età inquieta, con una carica espressiva tale da stabilire un contatto immediato con l'ascoltatore. \u003c\/p\u003e\n\u003cp\u003eLA SUITE-GIOCATTOLO è del 1953. È poesia aerea e a tratti smagliante, in cui la vena intimista si risolve in tinte forti e in immagini visive. Alla suggestione impressionista di \"La gocciolina\" segue l'irruenza infantile del \"Tamburino\", la serenità pacata, quasi onirica del \"Valzer\", il suono del \"Cucù\" che richiama alla realtà finché questa non viene riaffermata con decisione da \"Le campane\", omaggio dichiarato a Mussorgsky, per chiudere con il \"Capriccetto\" finale forte e dispettoso. In un momento di sottile malinconia il compositore scrisse: \"Ho edito da Su-vini-Zerboni una minima suite-giocattolo dedicata ai bambini piccolissimi, fra cent'anni qualche riesumatore la troverà spiritosissima e si vanterà di averla scoperta... Forse un giorno mi risveglierò...\"\u003c\/p\u003e\n\u003cp\u003eRIDERELLA venne composta per pianoforte a quattro mani nel 1927 e, come molte altre, reca la scritta \"Alla mia Lidia\". Si tratta di una favola in musica nata durante il fidanzamento per essere eseguita insieme alla futura moglie. È una pagina soffusa di delicata e malinconica poesia mista a suoni e colori brillanti. Ebbe poi una versione per voce recitante, archi, piano e arpa nel 1947.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eFERRUCCIO BUSONI (Empoli 1866 - Berlino 1924) è lo pseudonimo del compositore Michelangelo Dante Benvenuto. Per la sua attività di pianista e compositore viaggiò in tutto il mondo per poi stabilirsi definitivamente a Berlino. Si ispirò all'ideale di una ' nuova classicità\", di uno stile capace di esprimersi in un clima sereno, superiore ad ogni fervore romantico. Partendo dai classici, in particolare da Bach, raggiunse una purezza espressiva che dal punto di vista armonico presenta condensazione cromatica fino all'occultamento dei poli di attrazione tonale. Per Busoni \"l'ottava non consiste più di sette ma di dodici suoni\". La \"nuova classicità\" bilancerà così la tendenza contrapposta volta al superamento di ogni convenzione formale. In vita la sua attività compositiva fu adombrata dalla fama di pianista, ma negli ultimi decenni abbiamo assistito ad una rivalutazione che lo ha giustamente collocato tra i grandi compositori della sua epoca. \u003c\/p\u003e\n\u003cp\u003eLE MELODIE POPOLARI FINLANDESI op. 27 per pianoforte a quattro mani, dedicate ad Anna Lindelöf, sono del 1888. Appartengono al periodo giovanile quando, per intercessione di Hugo Riemann, nel 1889 il compositore ottenne la cattedra di pianoforte ad Helsinki. Nel significativo allargamento dell'impalcatura tonale già si riescono ad intuire le caratteristiche delle composizioni della piena maturità, anche se non siamo ancora nel sistema di notazione privo dei segni di alterazione. La partitura, articolata in molti stacchi di tempo, riporta delle indicazioni che richiamano l'imitazione degli strumenti dell'orchestra.  \u003c\/p\u003e","brand":"Fonè","offers":[{"title":"DSD 64","offer_id":53747677987163,"sku":"DSD9207","price":20.0,"currency_code":"EUR","in_stock":true},{"title":"WAV 88.2kHz · 24bit","offer_id":53747678019931,"sku":"HD9207","price":20.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/1016\/6580\/files\/SR9207sleeve.jpg?v=1786306390"}],"url":"https:\/\/www.referencemusicstore.com\/es\/collections\/ferruccio-busoni.oembed","provider":"Reference Music Store","version":"1.0","type":"link"}