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 
