BUSONI : Piano Music • 1 — Fantasia Contrappuntistica · An die Jugens (Wolf Harden) (2001) FLAC (tracks), lossless

Busoni's music for solo piano embraces the virtuosity of Liszt and the technical discipline of Bach. Nowhere are these characteristics more apparent than in his works drawn from or inspired by Bach, as this disc magnificently shows. The centrepiece is the massive Fantasia Contrappuntistica, an extraordinary series of fugues which stretch both pianist and piano to the limit. The suite An die Jugend contains original compositions and transcriptions inspired by Bach, Mozart and Paganini. Two majestic single works, one by Busoni and the other a transcription by him from Bach, round off an immensely satisfying programme. naxos

Ferruccio Busoni (1866-1924)
1. Toccata & Fugue In D Minor, BWV 565 (9:26)
Adapted By [Transcribed By] – Ferruccio Busoni
Composed By – J.S. Bach
2. Prelude & Fugue In C Minor    4:19
3-7.    An Die Jugend    (25:32)
8-13. Fantasia Contrappuntistica    (30:38)
Credits :
Piano – Wolf Harden

BUSONI : Piano Music • 2 — Variation and fuga on Chopin's Prelude in C minor · Transcription of J.S. Bach for solo violin (Wolf Harden) (2001) FLAC (tracks), lossless

Busoni was one of the most important composers of the early twentieth century, with a distinct and profound aesthetic of his own. His music for solo piano embraces the virtuosity of Liszt and the technical discipline of Bach. Nowhere are these characteristics more apparent than in his works drawn from or inspired by Bach, as this disc magnificently shows. It opens with Busoni’s magisterial transcription for piano of Bach’s powerful Chaconne in D minor, in which Busoni presents an entirely legitimate late romantic version of the original composition for solo violin. Equally impressive are the Variations and Fugue in free form on Chopin’s in C, inspired by Chopin’s visionary twentieth prelude from his set of twenty-four. naxos

Ferruccio Busoni (1866-1924)
1.    Chaconne For Solo Violin, B24 (13:36)
Composed By – Johann Sebastian Bach
Transcription By – Ferruccio Busoni
2.    Etude En Forme De Variations, Op.17 K.206 (9:04)
3.    Variations On "Kommt Ein Vogel Geflogen", K.222 (6:19)
4.    Theme And Variations In C Major, K.6 (1873) 3:50
5.    Inno Variations, K.16 (1874) 2:54
Variations And Fugue On Chopin's Prélude In C Minor, Op.22 K.213
6.    Theme And Variations     (25:24)
7.    Fugue (5:49)
Credits :
Piano – Wolf Harden

BUSONI : Piano Music • 3 — Indian Diary · Trois Morceaux · Two Dance · Pieces Ballet Scenes (Wolf Harden) (2007) FLAC (tracks), lossless

The music of Ferruccio Busoni was comparatively neglected for many decades, perhaps because he didn't fit any of the "-isms" that were contending to be the main line of musical development. There was too much Liszt in his music for him to be part of the neo-Classical crowd. Now that it's clear that that effort was itself a big part of classical music's problems, Busoni is showing up on more programs and recordings. He wrote tonal music, which for some disqualified him right off the bat. And there was a dry, rigorous quality even to his slightest compositions that placed him far from late Romanticism. Annotator Richard Whitehouse puts it nicely here when he writes that Busoni was "neither inherently conservative nor demonstratively radical," and that his innovations "were bound up with a re-creative approach to the musical past that has only gained wider currency over recent decades." In a way, John Adams is one of his heirs.
This disc, part of a series of Naxos releases covering all of Busoni's piano music, introduces some of Busoni's diverse impulses, all of them tied together by his devotion to contrapuntal art and artifice. There is a relatively straight Bach transcription; a set of Three Pieces, Op. 4-6, that use concise scherzo, prelude, and fugue forms; five virtuoso works Busoni called Ballet Scenes; some light waltz music intended as a tribute to Strauss but actually closer to Ravel's La valse (though not so grim); and finally an Indianische Tagebuch (Indian Diary) that is entirely different in effect from so-called Indianist compositions in the U.S. Hear the second part, "Song of Victory" (track 14), which uses an ostinato as the basis for the subtle motivic evolution present in many of Busoni's pieces. The Fourth Ballet Scene in the Form of a Concert Waltz, Op. 33a, is a good introduction to Busoni in general, with neither its waltz opening nor its thunderous conclusion ever really letting the listener sit back and relax -- there's always too much going on at the local level. German pianist Wolf Harden has the equipment to handle the pianistically thorny passages, with a powerful, bass-heavy sound, and he had a fine feel for the unique mixture of intellect and showmanship in Busoni that is sounding better and better every year. A good choice as part of the Naxos set or for anyone curious about this composer. James Manheim  

The essence of Busoni’s music lies in a synthesis of his Italian and German ancestry: emotion and intellect, imagination and discipline, often allied with a re-creative approach to the musical past. His arrangement of Bach’s Toccata, Adagio and Fugue in D minor, BWV565 represents the virtuoso transcription, derived from Brahms and Liszt, at its most commanding. Tanzwalzer, dedicated ‘to the memory of Johann Strauss’ is a homage to the golden age of the Viennese waltz. Drawing on Amerindian rhythms and melodies, the Indian Diary depicts life among the North American Indians whose wretched plight Busoni had witnessed on a visit to America in 1910. naxos

Ferruccio Busoni (1866-1924)
1-3. Organ Toccata, Adagio And Fugue, BWV 564 (13:07)
Arranged By – Ferruccio Busoni
Composed By – Johann Sebastian Bach
4-6. Trois Morceaux, Op. 4-6, K 197    (9:40)
7. (First) Ballet Scene, Op. 6 (3:39)
8. Second Ballet Scene, Op. 20, K 209 (5:31)
9-10. Two Dance Pieces, Op. 30a, K 235a (6:18)
11. Fourth Ballet Scene (In The Form Of A Concert Waltz), Op. 33a, K 238    (7:39)
12. Tanzwalzer, Op. 53, K 288 (8:42)
Transcription By – Michael Von Zadora
13-16. Indianische Tagebuch, Book 1 (Indian Diary), K 267    (10:58)
Credits :
Piano – Wolf Harden

BUSONI : Piano Music • 4 — Élégien · Fantasia nach J. S. Bach · Toccata (Wolf Harden) (2008) FLAC (tracks), lossless

In the fourth volume of his cycle of Busoni's piano music for Naxos, pianist Wolf Harden tackles some of the most important pieces in Busoni's solo repertoire; the Six Elegies, the Toccata: Preludio -- Fantasia -- Ciaccona, and the Fantasia nach J.S. Bach. Harden fills out the program with appropriate, contextually related choices; the Bach/Busoni Prelude and Fugue in D, BWV 532, originally for organ, and the seldom recorded piano solo version of the Berceuse Elegiaque, subtitled by Busoni as "Elegy No. 7." One would expect in such emotionally wrought Busoni -- the Berceuse is a memorial to his mother, as is the Fantasia to his father -- that Harden would be firing on all cylinders here. In a technical sense, he is; the execution aspect of the whole disc is impressive apart from a transition or two that come off as abrupt. However, Harden takes the Elegies a shade faster than most, and the underlying dance rhythms -- usually muted owing to slower tempi -- become the detail that plays to the foreground. In making such tempo choices, Harden's Elegies come off as being rather strident and he loses the sense of shrouded mystery that these pieces are normally associated with, and that doesn't seem like an appropriate trade-off. This may be the result of a conceptual misunderstanding; though Busoni was a pioneer of neo-classical thinking in music, the Elegies in particular are closer to the realm of Liszt than they are of Prokofiev. In any event, it is somehow encouraging that twenty first century pianists are able to take piano pieces once thought barely possible and perform them in a manner that's almost blasé. In this matter, a bit more give would've yielded expressive results in this music, such as is customary, but one cannot fault Harden for playing such extraordinarily difficult piano music with such proficiency, it's just an additional flair for drama, mood, and suspense that is lacking. Uncle Dave Lewis  

Performance occupied much of Busoni’s attention until the turn of the twentieth century, when composition began to assume a new importance in his career. Busoni regarded his Elegien as the point where he discovered his true identity as a composer. Even at his most radical, however, Busoni never rejected what had gone before; the Elegien alternate between new works and transcriptions of older pieces. Drawing on Bach organ pieces, Fantasia after J.S. Bach may sound backwardlooking in context, but its concept points determinedly towards the future. Toccata was completed while Busoni was engaged in earnest on his crowning achievement, the music-drama Doktor Faust, whose essence pervades this most virtuosic yet also aggressive of the composer’s later piano works. naxos

Ferruccio Busoni (1866-1924)
1-2. Prelude And Fugue In D Major, BWV 532 (11:14)
3-8. Elegien, K.249 (29:09)
9. Berceuse, "Elegie No. 7", K.252 (4:32)
10. Fantasia Nach J. S. Bach, K.253 (9:43)
11. Toccata, K.287 (Preludio - Fantasia - Ciaccona) 9:39
Credits :
Piano – Wolf Harden 

BUSONI : Piano Music • 5 — Six Études · Six Pieces · Ten Variations on Chopin's C Minor Prelude (Wolf Harden) (2009) FLAC (tracks), lossless

Wolf Harden returns to Busoni for Naxos in this, his fifth volume of Busoni's piano music for the label, and Harden seems to be more on his game here than in the fourth volume. While flanked by Busoni's familiar transcription of J.S. Bach's "St. Anne" prelude and his extraordinary 1922 rewrite of his much earlier Variations on Chopin's C minor Prelude, the real jewels in this crown are a couple of obscure suites, the Six Etudes, Op. 16 (1883), and the Six Pieces, Op. 33b (1895-1896). The first set is a wild and wooly series of etudes Busoni composed when he was only 17 years of age, and it contains so many seeds of his mature style that certain pieces -- such as the fifth etude "Fuga" -- could nearly be mistaken for the Busoni of 30 or so years later. The Six Pieces date from just before the Violin Concerto and Violin Sonata No. 2, Op. 36a, which Busoni cited as representing a stylistic breakthrough for him. The virtuoso textures he achieves in these pieces -- "Frohsion" utilizes a sweeping figure Busoni returned to in the elegy entitled "Meine Seele bangt und hofft zu Dir" from the Sechs Elegien of 1907 -- are ones that he would revisit. The rest of it -- its comparatively conservative harmonic style and stern, seriously minded post-romantic posture -- are things Busoni would leave behind for good.

Harden is very sharp throughout this whole recording, even as his piano seems to have something of a hiccup here and there. In the Bach transcription and Chopin variations, Harden is entering the market with some already stiff competition afoot, for example Demidenko in the Bach and Kaoru Bingham in the Chopin. However, in the other works Harden is running practically unopposed, and while no "world premiere" is claimed for the Six Pieces Op. 33b, this does seem to be the first complete recording of that set, from which the "Fantasia in modo antico" is usually singled out and played as a separate entity. If Harden may feel the competition, he doesn't show it, as he treats all of the music here with the same level of respect and has obviously put a lot of hard work into this production. Uncle Dave Lewis  

Wolf Harden’s Busoni Piano Edition has been warmly applauded for its ‘spacious aural frame’ (Vol. 1—8.555034), ‘stunningly authoritative’ playing (Vol. 2—8.555699), ‘lightness of touch and excellent phrasing’ (Vol. 3—8.570249) and ‘prestidigitatory prowess’ (Vol. 4—8.570543). For this fifth volume, Busoni’s magisterial transcription of Bach’s ‘St. Anne’ Prelude and Fugue and his inspired variations on Chopin’s famous ‘Choral’ Prelude flank two equally powerful, subtle and wide-ranging sets of shorter yet equally virtuosic works, the splendid Études and the harmonically adventurous Six Pieces. naxos

Ferruccio Busoni (1866-1924)
1-2.     Prelude And Fugue In E Flat Major, BWV 552, 'St. Anne' (13:56)
Arranged By – Ferruccio Busoni
Composed By – J.S. Bach
3-8.     6 Études, Op. 16    (22:22)
9-14. 6 Pieces, Op. 33b    (24:22)
15. 10 Variations On Chopin's C Minor Prelude (Revised 1922 Version Of Op. 22)    12:48
Credits :
Piano – Wolf Harden 

BUSONI : Piano Music • 6 — Fantasy and Fugue on 'Ad nos, ad salutarem undam' (Liszt-Busoni) · Piano Sonata in F Minor · Prélude et étude en arpèges (Wolf Harden) (2009) FLAC (tracks), lossless

Naxos continues its edition, with pianist Wolf Harden, of Ferruccio Busoni's piano music, of which there is a lot, with most of it written at a very high level of difficulty and some invested in rather long pieces that require almost superhuman endurance. Volume six contains three rather uncommon pieces, starting with Busoni's piano transcription of Liszt's organ work Fantasy and Fugue on "Ad nos, ad salutarem undam," a piece recorded in part by Busoni's pupil Leo Sirota as early as the mid-'20s, but seldom visited since. Liszt created his own four-hand version of the piece that is far more frequently played over Busoni's solo piano edition. This is followed by Busoni's early Piano Sonata in F minor, Op. 20a, composed in 1883 when Busoni was 17, a relative rarity hardly known before the 1980s. The Prélude et Etude en Arpèges (1923) is a very late Busoni composition and the best-known work on the program; it is a highly regarded piece that bears some kinship with his never-finished opera Doktor Faustus. All of these pieces are well worth hearing; as in the case of the Spanish Rhapsody, although it's technically a transcription of Liszt, no one would mistake the Fantasy and Fugue on "Ad nos, ad salutarem undam" for being Liszt because it has Busoni's special gestures and approach to piano technique all over it. Although Busoni rejected all of his pre-1893 works for what he felt was their precocity and lack of finish, as it turns out the F minor Piano Sonata is a fully mature and ambitious statement that is unusual for an Italian composer in the opera-obsessed 1880s and written in a time when the piano sonata itself was a form suffering from a brief eclipse.
The Naxos Busoni piano music edition has some strong advantages over other, similar projects; Busoni's piano music is so expansive and confusing that some editions have found ways to curtail the overall project in some way -- the Bach/Busoni or other kinds of transcriptions are left out, or made a different project on its own, or -- as Gunnar Johansen did on his Artist's Direct label in the 1960s -- limiting it only to fully original compositions. In Johansen's day, though, it was practically impossible to access the earlier Busoni works in manuscript that were extant; by the twenty-first century most of these efforts had found their way into print. Naxos' edition is pretty much all-inclusive of everything and combines works on individual volumes in an intelligent way; certainly the recordings are technically superior to anything that appeared on Artist's Direct. However, one genuinely wishes the label could have employed a pianist just a little more on the ball than Harden; it sounds like he is reading these scores, and it's a very good reading, but he often seems behind Busoni's music and there really isn't a strong interpretive sense at play in these renderings. To his credit, Johansen had his personal contact with Busoni to draw from and his passion for the project, so it's easy to forgive the bad sound and occasional finger slips here and there. Harden seems a bit lacking on the passion front and during the Prélude et Etude en Arpèges -- stated almost entirely in arpeggios -- we hear an arpeggio that has a note missing from it; Harden simply wasn't able to place his finger on the key at that moment. Naxos should have retaken it, but didn't; with Roland Pöntinen, Carlo Grante, and Ronald Stevenson already out there in this work, this recording simply doesn't have a competitive edge. Uncle Dave Lewis  

The sixth volume of Busoni’s piano music features two major projects from the earlier part of his career. The Liszt transcription powerfully recreates the composer’s grandest work for organ in terms of the piano, while the Piano Sonata in F minor is an exhilarating example of late-Romantic virtuosity that remained unknown until recent decades. In total contrast, the brief Prélude et étude en arpèges finds Busoni’s late musical language at its most concentrated and refractory. naxos

Ferruccio Busoni (1866-1924)
1-3. Fantasy And Fugue On 'Ad Nos, Ad Salutarem Undam' (26:41)
Arranged By – Ferruccio Busoni
Composed By – Franz Liszt
4-6.     Piano Sonata In F Minor, Op. 20, K204 (28:34)
7-8.     Prelude Et Etude En Arpeges, K297 (9:36)
Credits :
Piano – Wolf Harden

BUSONI : Piano Music • 7 — Concert fantasy on motifs from Goldmark's 'Merlin · Chamber Fantasy on Bizet's 'Carmen' (Wolf Harden) (2013) FLAC (tracks), lossless

The essence of Ferruccio Busoni’s music lies in its synthesis of his Italian and German ancestry, emotion and intellect, imagination and rigour. This seventh volume in Naxos’s highly-praised series brings together several virtuosic operatic transcriptions, paraphrases and fantasies, as well as demanding studies and two piano sonatinas. ‘Wolf Harden is a stupendous pianist who can deliver what Busoni demands and then some’ (American Record Guide on Vol. 2, 8.555699). naxos

Ferruccio Busoni (1866-1924)
1. Concert Fantasy On Motifs From The Opera "Merlin" By Goldmark    17:40
2. Fantasy On Motifs From The Comic Opera "Der Barbier Von Bagdad" By Peter Cornelius    9:38
3. Variation-Study After Mozart No. 1: Canzonetta From "Don Giovanni"    1:39
4. Funeral March From "Götterdämmerung" 8:07
Arranged By – Ferruccio Busoni
Composed By – Richard Wagner
5. Sonatina No. 3: 'Ad Usum Infantis Madeline M. Americanae    6:45
6. Sonatina No. 6: Chamber Fantasy On Bizet's "Carmen"    7:59
7-11. Five Short Pieces For The Cultivation Of Polyphonic Playing 16:24
Credits :
Piano – Wolf Harden 

BUSONI : Piano Music • 8 — 24 Preludes, Op.37 · Macchiette medioevali, Op.33 (Wolf Harden) (2013) FLAC (tracks), lossless

Ferruccio Busoni’s Preludes, Op 37 and Macchiette medioevali, Op 33 were a product of his teenage years (1881–83), but they are far from being derivative juvenilia. In these charming and engaging works Busoni moves away from the Baroque and Classical models of his earlier works towards a more inventive and personal accommodation with the Romanticism of the mid-nineteenth century. Wolf Harden’s playing in this series has been described as “the clear current benchmark” (BBC Music Magazine on Volume 2 / 8.555699). naxos

Ferruccio Busoni (1866-1924)
1-24. 24 Preludes, Op. 37 (Kind. 181) (1881) 52:23
25-30. Macchiette Medioevali, Op. 33 (Kind. 194) (1882-83) 12:54
Credits :
Piano – Wolf Harden 

BUSONI : Piano Music • 9 — Una festa di villaggio · Racconti fantastici · Danze antiche · Suite campestre (Wolf Harden) (2017) FLAC (tracks), lossless

All the works on this recording were composed when Busoni was between the ages of eleven and fifteen. Full of charm and wit, they reveal his precocious absorption of earlier models—principally Bach, Mozart, Weber and Schumann—as well as exceptional technical finesse. Una festa di villaggio charts the day’s events of a village festival whilst Suite campestre, one of his most distinctive early compositions, possesses moments of inwardness that presage the mature works to come. naxos

Ferruccio Busoni (1866-1924)
1-6. Una Festa Di Villaggio, Op. 9 (Kind.185)    (23:36)
7-9. Racconti Fantastici, Op. 12 (Kind. 100)    (9:43)
10-13. Danze Antiche, Op. 11 (Kind. 126)    (11:48)
14. Gavotte, Op. 70 (Kind. 152)    3:13
15-19. Suite Campestre, Op. 18 (Kind. 81)    (13:05)
20-24. Cinq Pièces, Op. 3 (Kind. 71)    (10:35)
Credits :
Piano – Wolf Harden

BUSONI : Piano Music • 10 — Transcriptions of Works by J.S. Bach, Brahms, Cramer, Liszt and Mozart (Wolf Harden) (2018) FLAC (tracks), lossless

Busoni embodied an essentially recreative approach to the music of the past. His Bach transcriptions reveal an absolute command of intricate polyphony and a limpid clarity. Mozart stood as an aesthetic and technical exemplar while Cramer’s little-known Etudes are adapted for modern piano technique. Busoni preserved the Lutheran austerity of Brahms’s Chorale Preludes for Organ, Op. 122 whereas in the Mephisto Waltz No. 1 he augments Liszt’s heady writing with a super-virtuosity of his own. naxos

Ferruccio Busoni (1866-1924)
1-3.     Fantasia, Adagio e Fuga (after J.S. Bach's BWV 906 and 968)
 Mozart - Piano Concerto No. 9 in E-Flat Major, K. 271, "Jeunehomme": II. Andantino
4.    Mozart - Piano Concerto No. 9 in E-Flat Major, K. 271, "Jeunehomme": II. Andantino
5-12.    Klavierübung in 5 Teilen (first edition, 1917-22), Part IV: 8 Etudes after Cramer
Johannes Brahms /  Ferruccio Busoni - Arranger
13-18.     11 Chorale Preludes, Op. 122 (arr. F. Busoni for piano) (excerpts)
Franz Liszt, / Ferruccio Busoni - Arranger
Der Tanz in der Dorfschenke, S110/R427, "Mephisto Waltz No. 1" (arr. F. Busoni for piano)
Credits :
Wolf Harden - Piano 

BUSONI : Piano Music • 11 — Ten Chorale Preludes · Sonatina brevis Nº.5 · Preludio al Corale e Fuga (Edizione minore) Prelude, Fugue and Allegro (Wolf Harden) (2019) FLAC (tracks), lossless

Transcriptions occupied Ferruccio Busoni from early in his career, but his famously Romantic version of the Chaconne in D minor (Naxos 8.555699) contrasts with the later and more austere Sonatina brevis based on Bach’s Fantasy and Fugue in D minor, BWV 905. Music from Bach’s The Art of Fugue is invoked in the rarely heard Edizione minore version of the Fantasia contrappuntistica, and the Ten Chorale Preludes include the glorious Wachet auf, ruft uns die Stimme. Sir Edward Elgar considered Busoni ‘the greatest musical mind of his time’, and Wolf Harden’s playing of Busoni has been described as ‘the clear current benchmark’ (BBC Music Magazine on Volume 2, 8.555699). naxos

Ferruccio Busoni (1899-1924)
1.    Sonata Brevis (No. 5) 'In Signo Joannis Sebatiani Magni', BV.280 (1919) 5:11
2-6.    Preludio Et Corale E Fuga Sopra Un Frammento Di Bach (Edizione Minore Della Fantasia Contrappuntistica), BV. 256a (1912) 18:57
7.    Prelude, Fugue And Allegro In E Flat Major, BWV 998, BV B.36 (1915) 8:36
J.S. Bach / Ferruccio Busoni - Arranger
8-17.    Ten Chorale Preludes, BV B. 27 (1898)
J.S. Bach / Transcription By – Ferruccio Busoni
Wolf Harden - Piano

BUSONI : Late Piano Music (Marc-André Hamelin) 3CD (2013) FLAC (image+.cue) lossless

The late piano works of Ferruccio Busoni can be characterized as virtuoso music par excellence, and because of their contrapuntal complexity, harmonic density, and technical difficulty, these pieces can have no greater champion than Marc-André Hamelin, the virtuoso's virtuoso. This Hyperion set of three CDs presents music that is far from well-known, and its obscurity adds another layer of unnecessary mystery. However, Hamelin is just the artist to sweep that all aside and present these seldom played pieces with clarity, precision, and élan to make them truly impressive. Busoni's music transcends any fixed style and is more than pastiche, though much of his work shows the influence of J.S. Bach, whose music Busoni frequently adapted for the modern piano and found to be a constant source of inspiration. Additionally, Busoni was a leader in the development of pantonal music, which is often confused with atonality, and worked out various ideas he described in his book, The Sketch of a New Aesthetic of Music. Hamelin is perhaps the best guide to the complicated world of Busoni, and thanks to his astonishing playing, this music communicates more directly and powerfully than many other attempts by other pianists. Hyperion's recording is clear and reasonably close to the piano, so virtually every note can be heard. Blair Sanderson
Tracklist & Credits :

BUSONI : Piano Concerto Op XXXIX (Marc-André Hamelin · City Of Birmingham Symphony Orchestra · Sir Mark Elder) (1999) Serie The Romantic Piano Concerto – 22 | FLAC (image+.cue), lossless

This has to be our Romantic Piano Concerto for the millennium!

The Busoni concerto, with its five movements, choral finale and a length of over 70 minutes, is surely the most grandiose ever written. But this is no over-ambitious monster; Busoni was one of the greatest pianists the world has known, but he was also a great intellectual with very strong views on art and culture. This work is the masterpiece of his middle years, more of a symphony in the breadth and scope of its ideas, but at the same time almost casually requiring the most formidable technical ability from the soloist. There is no doubt that this is one of music's major neglected masterpieces.

Marc-André Hamelin needs no introduction as a champion of the greatest challenges in the piano literature. Here he is joined by Mark Elder who has a particular reputation as a Busoni conductor. He conducted this work with Peter Donohoe in their famed Proms performance of 1988 and he has also conducted Busoni's rarely performed magnum opus 'Doctor Faust' at ENO. Hyperion

Ferruccio Busoni (1866-1924)
    
Piano Concerto in C major Op 39

Credits :
Conductor – Mark Elder
Leader [Of Orchestra] – Jacqueline Hartley
Orchestra – City Of Birmingham Symphony Orchestra
Piano – Marc-André Hamelin