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Klavierübung
Piano tutorial by Ferruccio Busoni
Title page of the edition in ten volumes
Catalogue	BV A 3
Composed	1917 (1917)–24

The Klavierübung (Piano Tutorial, BV A 3), by the Italian pianist and composer Ferruccio Busoni, is a compilation of piano exercises and practice pieces, comprising transcriptions of works by other composers and original compositions of his own.

Busoni worked on the Klavierübung at various times during the last seven years of his life, and with it, he hoped to pass on his accumulated knowledge of keyboard technique. The Klavierübung is not a comprehensive or systematic graduated course of study, nor is it intended for beginning or intermediate students. Instead it assumes the student has mastered standard piano technique and has reached a virtuoso level. Busoni proceeds by adding refinements, short cuts, and unusual solutions for pianistic problems encountered in a performing artist's repertoire. The included exercises and examples reflect Busoni's own special, but diverse, interests and abilities.

Assessment

Edward J. Dent, author of the first definitive biography of Busoni, had this to say about the exercises and studies in the Klavierübung: "...they are all extraordinarily interesting and stimulating. They are interesting too as helping to elucidate some of Busoni's other compositions, for the studies show how certain of his harmonic devices grew out of purely pianistic principles based on definite positions of the hands on the keyboard. Every one of the studies has genuine musical originality, and even the exercises to be repeated in all keys are a good deal more musical than such forms of torture are generally made to be."

Publication of the first edition

The Klavierübung was first published by Breitkopf & Härtel in separate parts beginning in 1918. Part 2 appeared in 1919, and parts 3 and 4 two years later. The fifth, and what was to be the final part, appeared in 1922. Kindermann, who prepared the first extensive catalog of Busoni's works in 1980, refers to this "First Edition" as Klavierübung in fünf Teilen , and Breitkopf & Härtel later republished a collected edition under this name ca. 1996.

Original plan of the work

Part 1 (Sechs Klavierübungen und Präludien) consists of six tutorials (numbered I - VI). Tutorials I to V were written in three days (10–12 September 1917), and tutorial VI one month later. The first piece of Part 2 was written on 7 November 1917, and the remainder from 4 to 10 June 1918. It consists of three tutorials (VII to IX).

Each tutorial begins with exercises and moves on to short original pieces and adaptions or transcriptions of excerpts from the repertory. For instance, the first tutorial starts with traditional scales (although the fingerings are unorthodox), then adds two excerpts which require power and speed: the first is from Liszt's Totentanz, and the second is based on two bars in Busoni's "Turandots Frauengemach" (Book 4 from Elegien, BV 249). This is followed by two original compositions: a 16-bar "Tempo di Valse" and a 33-bar "Preludio," both of which emphasize legato scales at moderate speed. Busoni frequently lists at the bottom one or more pieces from the repertoire as examples (in German: Beispiele) suitable for further study. In the case of the "Preludio," the Beispiel is Alkan's first etude from Etudes dans tous les tons majeurs, (Op. 35).

The first tutorial exemplifies a blueprint which is used for the subsequent tutorials, each emphasizing a different aspect of piano technique. These include, in addition to the "simple" scales of the first tutorial: forms derived from scales (chords incorporated into scales); chromatic "sliding-finger" (or "sixth-finger") technique; repeated notes; arpeggios and broken chords; examples of "three-hands"; trills; examples with arpeggios; and further examples of "three hands."

Difficulties completing

Because of distractions, including ill health, and other concerns, not least being the work on his lifelong masterpiece, the opera Doktor Faust (unfinished at the time of his death in 1924), many planned components of the Klavierübung were delayed or never fully realized. For instance, the foreword was not written until July 1920, and did not appear until the publication of Part 3 in 1921. Part 2 contains material which should have been included in Part 1, in tutorials V and VI . Part 3 presents additional material appropriate to Part 1, as appendices. A "Chromaticon" for Part 4, mentioned in a footnote to the foreword, had to be abandoned, and was hurriedly replaced with his edition of Eight Etudes by Cramer (BV B 53) first published in 1897. Part 5 likewise consists of already existing pieces. Perhaps, if Busoni had lived longer, he would have included much more. For example, there are no tutorials on the very important technique of pedalling, for which he was particularly well known.

Publication of a second edition

From December 1923 to January 1924 Busoni did manage to reorganize and enrich the material for a second edition of 284 pages. Entitled Klavierübung in zehn Büchern , it was published posthumously in 1925 as Volume VIII of the Bach-Busoni Edition. Only a small number of copies of the second edition were printed, and until recently, it has been a major rarity. Fortunately, it is now available online (see, for example, this page at the International Music Score Library Project).

Significance of the second edition

The second edition is particularly important, since it contains all Busoni's last piano compositions. Two of these are not found elsewhere and are of special interest, since they were intended as source material for the unfinished final scene of Doktor Faust:

1. "Veloce e leggiero" [the final piece in Book 5 ("Trills")]
2. "Study for the Third Pedal"

Annotated listing of contents

Busoni did not typically disclose the source of the extracts on which he based many of the pieces in the Klavierübung. They are often simply titled, for example, "Nach Bach" or "Nach Schubert." Fortunately, both Beaumont and Sitsky have provided fairly detailed descriptions of the contents of both the first and second editions. Some of this information is inserted here as annotations between square brackets.

Klavierübung in Five Parts (First Edition)

Klavierübung in fünf Teilen

Part 1: Six Piano Tutorials and Preludes

Sechs Klavierübungen und Präludien (der Klavierübung erster Teil.) (score)

I.

(a) Presto, pp. 3-4.

(b) , pp. 4-5.

(c) (Nach Liszt.) Allegro, p. 5.

[excerpt from the final cadenza in Liszt's Totentanz, see p. 70 of the Liszt score (Sitsky, p. 166)

(Sitsky, pp. 226-230)

(d) Allegretto, p. 6.

(Beaumont, p. 303)

(e) Tempo di Valse, p. 6.

(f) Preludio. Allegro , p. 7.

Beispiel: Alkan, Etudes dans tous les tons majeurs, [Op. 35] No.1 (score)

II.

(a) , pp. 8-9.

Beispiele: Weber, Sonate C dur, I. (score)

Liszt, Carillon, aus "der Weihnachtsbaum" [S.186/6] (score)

(b) Preludio: Allegro festivo, p. 10.

Beispiel: Chopin, Fantasie (score)

III.

(a) , pp. 11-12.

(b) Preludio (Andantino), pp. 12-13.

(c) Con bravura (la mano destra sotto), p. 13.

Beispiel: Liszt, Mazeppa (S.139/4) (score)

(d) Preludio (Tempo di Valse moderato), p. 14.

(e) Allegro moderato , pp. 14-15.

IV.

(a) Schema with eight variants, pp. 16-18.

(b) (Nach Schubert-Liszt), p. 18

(Sitsky, p 243)

Beispiele: Chopin, Prelude Gis moll . (score)

Liszt, Schuberts "Auf dem Wasser zu Singen" . (score)

Liszt, Au bord d'une source. (S.160/4) (score)

Liszt, Tannhäuser-Ouverture. (S.442 (score)

(c) Allegretto, p. 19.

(Sitsky, p 243)

Beispiel: Busoni, Indianisches Tagebuch, Nr. 2. (score)

(d) (Nach Auber-Liszt) Alla Tarantella. , pp. 20-21.

(Sitsky, p 243)

Beispiel: Liszt, Tarantella di Bravura sur "la Muette de Portici". (score)

V.

(a) , pp. 22-23.

(b) Prestissimo; stretto, pp. 23-25.

Beispiele: Chopin, Etude Op. 10 Nr. 1. (für die r. H.) (score)

Henselt, "Orage, tu ne saurais m'abattre". (für die l. H.) (score)

Chopin, Prélude Es dur. (score)

Liszt, Vision. (score)

Bach-Busoni, Wohltemperiertes Klavier I, Varianten zu den Präludien in D moll und B dur [Nos.6 & 21[ (score)

(c) (Nach Bach), p. 25.

(Sitsky, p 203)

(d)

(e) (Nach Beethoven). Allegretto, pp. 26-27.

(Sitsky, p 278)

(f) , p. 28.

(Sitsky, p 167

(g) Allegro vivace, p. 29.

(h) , pp. 30-31.

Beispiele: (for die linke Hand) Rubinstein Etüde Es dur, 6 Etudes, Op. 23, No.4 in E-flat major (score)

Busoni, Indianisches Tagebuch, No.4. (score)

(i) Preludio. Allegro moderato, pp. 32-33.

(Sitsky, p 267)

VI.

(a) Preludio. Alla Tarantella, pp. 34-35.

(score)

Beispiel: Liszt, Norma-Fantasie. (score)

(b) Nach Offenbach. Barcarole, pp. 36-37.

(Sitsky, p 289; Beaumont, p. 303)

(c) Nach Beethoven. Presto, pp. 38-39.

(Sitsky, p 278)

Beispiele: Schubert-Liszt, Das Sterbeglöcklein.

Liszt, Valse a capriccio sur Lucia e Parisina (Erste Fassung)

Busoni, Concerto (score)

Part 2: Three Piano Tutorials and Preludes

Drei Klavierübungen und Präludien (der Klavierübung zweiter Teil.) (score)

VII.

(a) Moderato, pp. 2-4.

(b) Nach Bach. Andante, pp. 5-7.

(Sitsky, p 203)

Beispiele: Beethovens Sonaten Op. 53 (score), Op. 109 (score) und Op. 111 (score).

(c) Nach Beethoven. Allegro, pp. 8-9.

(Sitsky, pp. 278-279)

Beispiel: Vergleiche die ganze Fuge aus Beethovens Sonate Op. 106. (score)

(d) Preludio (ohne den 3. Finger ). Moderato alla breve, pp. 10-11.

Beispiele: ohne den 4. Finger: Chopin, Etudes Op. 25 F dur (score),

   ohne den 3. und 4. Finger: Chopin, Etudes Op. 10 As dur (score).

für die wechselnden Sekunden intervalle: Liszt's "Feux Follets"

(e) Nach Gounod. Andante con moto, pp. 12-14.

[begins at bar 24 of the Andantino (p. 9) of the Liszt score

(Beaumont, p. 303)

[Egon Petri's recording of this piece uses the Busoni cadenza.] (Sitsky, p. 240)

Beispiele: Faust-Walzer (score)

Die Vogelpredigt (score)

Gondoliera aus: Venezia e Napoli (Liszt) (score)

(f) Preludio. Allegro, pp. 15-17.

(Sitsky, p 168)

(g) Nach Liszt. Andantino, pp. 18-21.

, score) with 3 variations] (Sitsky, p 243)

VIII.

(a) Nach Beethoven. Allegro, pp. 22-23.

(Sitsky, p 278; Beaumont, p. 303)

Beispiel: Sonate Op. 26. (score)

Beispiel: Alkan, Etudes dans les tons majeurs: C dur Stück. [Op. 35, No.4] (score)

(b) Preludio. Andante tranquillo, pp. 24-25.

(Beaumont, p. 303)

(c) Tempo di Valse, elegantemente, pp. 26-29.

(Beaumont, p. 303)

Beispiele: Chopin, Prélude Fis moll. (score)

Liszt, Waldesrauschen (S.145, No.1) (score)

Liszt, Dante-Sonate, Mittelsatz. (score)

IX. A second group for tutorial VI

(a) Perpetuum mobile et infinitum. Studie nach Bach (aus "an die Jugend"). Allegro non troppo, pp. 30-31.

(b) Nach Schubert, pp. 32-33.

(Sitsky, p 293)

(c) Aus meinem "Concerto". Trattenuto e fantasticamente, pp. 34-35.

[excerpt, from the 2nd movement of Busoni's Concerto Op. XXXIX, BV 247, p. 45 of the Egon Petri two-piano reduction

Part 3: Staccato

Lo Staccato. (der Klavierübung dritter Teil.) (score)

(a) An die Musikschule und das Konservatorium zu Basel, p. 3

    

(b) Vivace Moderato, con precisione, pp. 4-7.

(Sitsky, p 169)

(c) Variations-Studie nach Mozart, 1, pp. 8-9.

(Sitsky, p 264)

(d) Variations-Studie nach Mozart, 2, pp. 10-15.

(Sitsky, pp. 264-266)

(e) Motive. Allegro risoluto, pp. 16-18.

(Sitsky, p. 169)

(f) Preludio. Quasi presto, arditamente, pp. 19-21.

(g) Nach Mendelssohn. Vivace assai, pp. 22-23.

(Sitsky, p 243)

(h) Nach Bizet. Allegro deciso, pp. 24-25.

(Sitsky, p 279)

(i) Allegro, pp. 26-29.

"...another fierce-looking study in staccato chords...." (Sitsky, p 170)

Beispiele: Weber, Momento capriccioso (score)

Schumann, Toccata (score)

Rubinstein, Etüde C dur (score)

Mozart-Liszt, Don Juan-Fantasie, Finale (Ausgabe Busoni) (score)

Liszt, La Campanella (Ausgabe Busoni) (score)

Liszt, Galop chromatique

Liszt, Tarantella di Bravura (score)

Alkan, Etüde majeur No.12 (score)

Cramer-Busoni, Etüden, II. Heft (score)

Busoni, Fugen-Etüde, Op. 16 (score)

Busoni, Turandots Frauengemach (BV 249, No.4] (score)

Busoni, Indianisches Tagebuch, Nr. 2. (score)

Busoni, IV. Ballet-Szene (Galopp). (score)

(j) Transcriptions-Studie nach Liszt. Quasi Galopp, sempre da Capo, pp. 30-31.

(Sitsky, p 243)

(k) Variations-Studie nach Paganini-Liszt, 1. , pp.32-36.

(Sitsky, p 243)

(l) Variations-Studie nach Paganini-Liszt, 2. Vivace moderato tutto staccato, pp. 37-44.

(m) Nachsatz zur V. Übung. , pp. 45-46.

(Sitsky, p. 167)

(n) Anhang. 7 Variationen nach einem Motiv von Beethoven, p. 47.

   

In verschiedenen Tonarten zu üben. Auch in Moll.

Part 4: Eight Etudes by Cramer

Acht Etüden von Cramer (der Klavierübung vierter Teil.) (score)

(Sitsky, p 284)

I. Legato, pp. 2-18.

1. Allegro non tanto

2. Comodo. Behaglich

3. En Carillon: Moderato

4. Allegro di Bravura

II. Staccato, pp. 19-35.

5. Répétition: Allegrissimo

6. Allegro moderato

7. Scherzando: Piùttosto moderato

8. Finale: Molto agitato quasi presto

Part 5: Variations. Perpetual motion. Scales.

Variationen - Perpetuum mobile - Tonleitern (der Klavierübung fünfter Teil) (score)

(a) Zehn Variationen über ein Präludium von Chopin, pp. 2-22.

     (score)

(1) Sostenuto

(2) Largo

(3) Sostenuto (alla breve)

(4) Poco più vivo, leggiero scherzoso

(5) (En Carillon)

(6) continuando. dolce

(7) Sotto voce e poi sempre aumentando

(8)

(9) Fantasia: Tempo libero. - Andante. - Tempo libero. - Presto.

(10)

(11) Scherzo finale - (Vivace misurato)

(12) (Hommage à Chopin) Tempo di Valse, tranquillo moderato.

(13) Tempo dello Scherzo.

(Beaumont, p. 298.)

(b) Sechs Varianten zu Etüden und Präludien von Chopin, pp. 23-31.

    

"Erst der Spiegel der Variante vom Urbild zeigt das Interessante." (Ferruccio Busoni)

The variants are taken from Chopin's Etudes Op. 10 (scores) and Preludes Op. 28 (scores) (Sitsky, p 282)

(1)

(2) Moderato

(3) Agitato

(4) Moderato vivace

(5) Allegro

(6) Vivace [Upside-down variant of Prelude Op. 28, No.3] (score)

(c) Perpetuum mobile, pp. 32-42.

Beispiele: Czerny, Toccata (score)

Weber, Rondo aus der I. Sonate (score)

Saint-Saëns, Étude d'après le Finale du 5 Concerto (score)

Alkan, "Comme le vent" (score)

Alkan, "Le chemin de fer" (score)

Alkan, Étude pour les deux mains à mouvement semblable et perpétuel (score)

(d) Scales. 1. Allegro moderato, pp. 43-46.

(e) (Scales.) 2. Übereinanderstellung verschiedener Tonarten. , pp. 47-48.

"Sind von jeder Halbton stufe aus zu wiederholen."

Beaumont, p. 304)

(f) (Scales.) 3. Presto volante, pp. 49-51.

(g) Anhang. Terzen , p. 52

(Sitsky, p. 166)

Klavierübung in Ten Books (Second Edition)

Title page:

Klavierübung in zehn Büchern von Ferruccio Busoni. Zweite umgestaltete und bereicherte Ausgabe.

Title shown on page 1:

Klavierübung. Studien and Vortragsstücke.

Book 1: Scales

Erstes Buch. Tonleitern, pp. 1–12. (score)

(a) Presto, pp. 1-2.

(b) Allegro moderato, pp. 3-6.

(c) , pp. 7-8.

Beaumont, p. 304)

(d) Presto volante, pp. 9-11.

(e) , p. 12.

(Sitsky, p. 166)

Book 2: Forms derived from scales

Zweites Buch. Von Tonleitern abgeleitete Formen, pp. 13–26. (score)

(a)

(1) , pp. 13-14.

Beispiele: Weber, Sonate C dur, I. (score)

Liszt, Carillon, aus "der Weihnachtsbaum" [S.186/6 (score)

(2) Preludio: Allegro festivo, p. 15.

Beispiel: Chopin, Fantasie (score)

(b)

(1) , pp. 16-17.

(2) Preludio (Andantino), pp. 17-18.

(3) Con bravura (la mano destra sotto), p. 18.

Beispiel: Liszt, Mazeppa (S.139/4) (score)

(4) Preludio (Tempo di Valse moderato), p. 19.

(5) Allegro moderato , pp. 19-20.

(c)

(1) , pp. 21-23.

(2) Nach Schubert-Liszt, p. 23.

(Sitsky, p 243)

Beispiele: Chopin, Prelude Gis moll . (score)

Liszt, Schuberts "Auf dem Wasser zu singen" . (score)

Liszt, Au bord d'une source. (S.160/4) (score)

Liszt, Tannhäuser-Ouverture. (S.442 (score)

(3) Allegretto, p. 24.

(Sitsky, p 243)

Beispiel: Busoni, Indianisches Tagebuch, Nr. 2. (score)

(4) (Nach Auber-Liszt) Alla Tarantella. , pp. 25-26.

(Sitsky, p 243)

Beispiel: Liszt, Tarantella di Bravura sur "la Muette de Portici". (score)

Book 3: Chordal (broken chords)

Drittes Buch. Akkordisches, pp. 27–50. (score)

(a) , pp. 27-28.

(b) Prestissimo; stretto, pp. 28-30.

Beispiele: Chopin, Etude Op. 10 Nr. 1. (für die r. H.) (score)

Henselt, "Orage, tu ne saurais m'abattre". (für die l. H.) (score)

Chopin, Prélude Es dur. (score)

Liszt, Vision. ()

Bach-Busoni, Wohltemperiertes Klavier I, Varianten zu den Präludien in D moll und B dur

(c) (Nach Bach), p. 30.

(Sitsky, p 203)

(d) , pp. 31-32.

(Sitsky, p. 167)

(e) Nach Beethoven. Allegretto, pp. 33-34.

(Sitsky, p 278)

(f) , p. 35.

(Sitsky, p 167

(g) Allegro vivace, p. 36.

(h), pp. 37-38.

Beispiele: (for die linke Hand) Rubinstein Etüde Es dur, 6 Etudes, Op. 23, No.4 in E-flat major (score)

Busoni, Indianisches Tagebuch, No.4. (score)

(i) Preludio, pp. 39-40.

"Rather charming...in
₂, with stretches in both hands."] (Sitsky, p 267)

(j) Nach Beethoven. Allegro, pp. 41-42.

(Sitsky, p 278; Beaumont, p. 303)

Beispiel: Sonate Op. 26. (score)

Beispiel: Alkan, Etudes dans les tons majeurs: C dur Stück. [Op. 35, No.4] (score)

(k) Preludio. Andante tranquillo, pp. 43-44.

(Beaumont, p. 303)

(l) Tempo di Valse, elegantemente, pp. 45-48.

(Beaumont, p. 303)

Beispiele: Chopin, Prélude Fis moll. (score)

Liszt, Waldesrauschen (S.145, No.1) (score)

Liszt, Dante-Sonate, Mittelsatz. (score)

(m) , pp. 49-50.

Book 4: "For Three Hands"

Viertes Buch. "À trois mains," pp. 51–62. (score)

(a) Preludio. Alla Tarantella, pp. 51-52.

(b) Nach Offenbach. Barcarole, pp. 53-54.

(score) (Sitsky, p 289; Beaumont, p. 303)

(c) Nach Beethoven. Presto, pp. 55-56.

(Sitsky, p 278)

Beispiele: Schubert-Liszt, Das Sterbeglöcklein.

Liszt, Valse a capriccio sur Lucia e Parisina (Erste Fassung)

Busoni, Concerto (score)

(d) Perpetuum mobile et infinitum. Studie nach Bach (aus "an die Jugend"). Allegro non troppo, pp. 57-58.

(e) Nach Schubert, pp. 59-60.

(Sitsky, p 293)

(f) Aus meinem "Concerto". Trattenuto e fantasticamente, pp. 61-62.

[excerpt, from the 2nd movement of Busoni's Concerto Op. XXXIX, BV 247, p. 45 of the Egon Petri two-piano reduction

Book 5: Trills

Fünftes Buch. Triller, pp. 63–88. (score)

(a) Moderato, pp. 63-65.

(b) Nach Bach. Andante, pp. 66-68.

(Sitsky, p 203)

Beispiele: Beethovens Sonaten Op. 53 (score), Op. 109 (score) und Op. 111 (score).

(c) Nach Beethoven. Allegro, pp. 69-70.

(Sitsky, pp. 278-279)

Beispiel: Vergleiche die ganze Fuge aus Beethovens Sonate Op. 106. (score)

(d) Preludio (ohne den 3. Finger ). Moderato alla breve, pp. 71-72.

Beispiele: ohne den 4. Finger: Chopin, Etudes Op. 25 F dur (score),

   ohne den 3. und 4. Finger: Chopin, Etudes Op. 10 As dur (score).

für die wechselnden Sekunden intervalle: Liszt's "Feux Follets"

(e) Nach Gounod. Andante con moto, pp. 73-75.

[begins at bar 24 of the Andantino (p. 9) of the Liszt score

(Beaumont, p. 303)

[Egon Petri's recording of this piece uses the Busoni cadenza.] (Sitsky, p. 240)

Beispiele: Faust-Walzer (score)

Die Vogelpredigt (score)

Gondoliera aus: Venezia e Napoli (Liszt) (score)

(f) Preludio. Allegro, pp. 76-78.

(Sitsky, p 168)

(g) Nach Liszt. Andantino, pp. 79-82.

, score) with 3 variations] (Sitsky, p 243)

(h) 7 Variationen nach eimem Motive von Beethoven, p. 83.

   

In verschiedenen Tonarten zu üben. Auch in Moll.

(i) Veloce e leggiero, pp. 84-88.

(Beaumont, p. 305)

(Sitsky, p 168)

Book 6: Staccato

Sechstes Buch. Lo Staccato, pp. 89–117. (score)

(a) Vorwort zum Sechsten Buch, p. 89.

(b) Vivace Moderato, con precisione, pp. 90-93.

(Sitsky, p 169)

(c) Variations-Studie nach Mozart, 1, pp. 94-95.

(Sitsky, p 264)

(d) Variations-Studie nach Mozart, 2. Allegro, pp. 96-101.

(Sitsky, pp. 264-266)

(e) Motive. Allegro risoluto, pp. 102-104.

(Sitsky, p. 169)

(f) Preludio. Quasi presto, arditamente, pp. 105-107.

(g) Nach Mendelssohn. Vivace assai, pp. 108-109.

(Sitsky, p 243)

(h) Nach Bizet. Allegro deciso, pp. 110-111.

(Sitsky, p 279)

(i) Nach Liszt. Quasi Galopp, sempre da Capo, pp. 112-113.

(Sitsky, p 243)

(j) Allegro, pp. 114-117.

"...another fierce-looking study in staccato chords...." (Sitsky, p 170)

Beispiele: Weber, Momento capriccioso (score)

Schumann, Toccata (score)

Rubinstein, Etüde C dur (score)

Mozart-Liszt, Don Juan-Fantasie, Finale (Ausgabe Busoni) (score)

Liszt, La Campanella (Ausgabe Busoni) (score)

Liszt, Galop chromatique

Liszt, Tarantella di Bravura (score)

Alkan, Etüde majeur No.12 (score)

Cramer-Busoni, Etüden, II. Heft (score)

Busoni, Fugen-Etüde, Op. 16 (score)

Busoni, Turandots Frauengemach (BV 249, No.4] (score)

Busoni, Indianisches Tagebuch,Nr. 2. (score)

Busoni, IV. Ballet-Szene (Galopp). (score)

Book 7: Eight Etudes after Cramer

Siebentes Buch. Acht Etüden nach Cramer (score)

is omitted, and possible changes to Etudes 4 to 8 are indicated with ossias. The etudes republished in the Klavierübung (First Edition, Part 4) are identical to those in the Schlesinger edition. However, in this edition Etudes 4 to 8 include the ossias in the text without notification and contain musical and pianistic changes as well.] (Sitsky, p 284)

Acht Etüden nach Cramer, pp. 118-150.

1. Allegro non tanto

2. Comodo: Behaglich

3. En Carillon: Moderato

4. Allegro di Bravura

5. Répétition: Allegrissimo

6. Allegro moderato

7. Scherzando: Piùttosto moderato

8. Finale: Molto agitato quasi presto

Book 8: Variations and Variants on Chopin

Achtes Buch. Variationen und Varianten zu Chopin (score)

(a) Neun Variationen über ein Präludium von Chopin, pp. 151-167.

(Sitsky, p 57)

(1) Sostenuto

(2) Largo

(3) Sostenuto (alla breve)

(4) poco più vivo, legg. scherzoso

(5) (En Carillon)

(6) continuando. dolce

(7) sotto voce e poi sempre aumentando

(8)

(9) deciso.

(10) Scherzo finale - (Vivace misurato)

(11) (Hommage à Chopin) Tempo di Valse, tranquillo moderato.

(12) Tempo dello Scherzo.

(Beaumont, p. 298.)

(b) Varianten zu Etüden und Präludien von Chopin, pp. 168-177.

    

"Erst der Spiegel der Variante vom Urbild zeigt das Interessante." (Ferruccio Busoni)

(Sitsky, p 282)

(1)

(2) Moderato

(3) Agitato

(4) Moderato vivace

(5) Allegro

(6) Vivace [Upside-down variant of Prelude Op. 28, No.3] (score)

Book 9: Seven Short Pieces for the Cultivation of Polyphonic Playing

Neuntes Buch. Sieben kurze Stücke zur Pflege des polyphonen Spiels (score)

(a) Sieben kurze Stücke zur Pflege des polyphonen Spiels, pp. 178-202.

(Sitsky, p. 170)

1. Preludietto. Allegro

2. Sostenuto

3. Andante molto tranquillo e legato

4. Allegro

5. Preludio. Andante tranquillo

6. nach Mozart. Adagio

*) "Zwei geharnischte Männer" (die Zauberflöte)

7. Mit Anwendung des III. Pedals (Steinway & Sons Sostenuto-Pedal.) Andante tranquillo.

and two for the Liegende Töne . Busoni finished it on 13 November 1923 in Paris. It is dedicated to Leonhard Tauber, who was his host while he was in Paris. The music was intended for the moment of Faust's death at the end of the final scene of his unfinished opera Doktor Faust.] (Beaumont, p. 306.)

(b) Perpetuum mobile (nach des Concertino II. Satze), pp. 203-213.

Beispiele: Czerny, Toccata (score)

Weber, Rondo aus der I. Sonate (score)

Saint-Saëns, Étude d'après le Finale du 5 Concerto (score)

Alkan, "Comme le vent" (score)

Alkan, "Le chemin de fer" (score)

Alkan, Étude pour les deux mains à mouvement semblable et perpétuel (score)

Book 10: Etudes after Paganini-Liszt

Zehntes Buch. Etüden nach Paganini-Liszt (score)

(a) 1. , pp. 214-227.

(b) 2. , pp. 228-238.

(c) 3. , pp. 239-256.

(d) 4. , pp. 257-261.

(e) 5. , pp. 262-267.

(f) 6. , pp. 268-275.

(g) Introduzione e Capriccio (Paganinesco), pp. 276-284.

Composition and publication details

• Klavierübung in Five Parts (First Edition)

Part 1: Sechs Klavierübungen und Präludien

•Compiled and composed: Zurich, 10–12 September, 10 October 1917

•Manuscript: Busoni Archive No.303

•Publication:

1) Leipzig: Breitkopf & Härtel, 1918, cat. no. EB 5066, plate no. 28210, (39 pages)

2) Wiesbaden: Breitkopf & Härtel, 1954 (reprint)

3) Wiesbaden: Breitkopf & Härtel, (reprint)

•Dedication: An die Musikschule und das Konservatorium in Basel

Part 2: Drei Klavierübungen und Präludien

•Compiled and composed: 7 November 1917 - 7 June 1918

•Manuscript: Busoni Archive No. 306

•Publication:

1) Leipzig: Breitkopf & Härtel, 1919, cat. no. EB 5067, plate no. 28321, (47 pages)

2) Wiesbaden: Breitkopf & Härtel, (reprint)

•Dedication: An die Musikschule und das Konservatorium zu Basel

Part 3: Lo Staccato

•Compiled and composed: June 1919 - 10 Mar 1921

•Manuscript: Busoni Archive No. 324

•Proof copy: Busoni Archive No. 358

•Publication:

1) Leipzig: Breitkopf & Härtel, 1921, EB 5068, plate no. 28665, (47 pages)

2) Leipzig: VEB Breitkopf & Härtel, (reprint)

3) Wiesbaden: Breitkopf & Härtel, (reprint)

4) Wiesbaden: Breitkopf & Härtel, (reprint)

•Ded: An die Musikschule und das Konservatorium in Basel. F. Busoni.

Part 4: Acht Etüden von Cramer

•Transcribed: ca. 1896 (BV B 53)

•Manuscript: Unknown.

•Publication:

1) Berlin: Schlesinger, London: The Frederick Harris Company, 1897, S.8772 (separately from Klavierübung)

2) Leipzig: Breitkopf & Härtel, 1922, EB 5224, plate number 28809, (35 pages)

3) Wiesbaden, Leipzig, Paris: Breitkopf & Härtel, (reprint)

4) Wiesbaden: Breitkopf & Härtel, (reprint)

•Dedication: Herrn Professor Carl Lütschg in St. Petersburg.

Part 5: Variationen, Perpetuum mobile, Tonleitern.

•Composed: April–May 1922

•Manuscript: Busoni Archive No. 337 (Terzen Tonleitern )

•Publication:

1) Leipzig: Breitkopf & Härtel, 1922, EB 5225, 5230, and 5231, plate no. 28765, (52 pages)

2) Wiesbaden, Leipzig, Paris: Breitkopf & Härtel, (reprint)

3) Wiesbaden: Breitkopf & Härtel, (reprint)

•Dedication: À Gino Tagliapietra (Variationen); À Cella Delavrancea (Perpetuum mobile).

•Ref: Dent, pp. 344, 349; Kindermann, pp. 461-463; Sitsky, pp. 162, 375-77; Beaumont, pp. 295-6, 370-2; Roberge, p. 45.

• Klavierübung in Ten Books (Second Edition)

•Compiled and composed: Dec 1923 - Jan 1924

•Note: Listed in an itemization of his compositions, prepared by Busoni, now part of the Busoni Archive.

•Manuscripts:

•In the Busoni Archive at the Staatsbibliothek zu Berlin:

•No. 303 Sechs Klavierübungen und Präludien (also First Edition, Part 1)

•No. 306 Drei Klavierübungen und Präludien (also First Edition, Part 2)

•No. 324 "Lo Staccato" (also First Edition, Part 3)

•No. 337 Terzen Tonleitern (also First Edition, Part 5)

•No. N. Mus. ms. 215 Exercise pour l'emploi de la troisième Pedale

•In the Galston-Busoni Archive, James D. Hoskins Library, University of Tennessee, Knoxville:

•F.4.d Preludio (no. 2 of BV 296 Fünf kurze Stücke zur Pflege des polyphonen Spiels)

•F.4.a, F.4.c, and F.8 (ms and proof copy of BV 297 Prélude et Étude en Arpèges)

•F.3 Liszt-Busoni "Tremolo" 1 Etude nach Paganini (BV B 75)

•F.4 Liszt-Busoni "La Chasse" 5 Etüde nach Paganini (BV B 76)

•F.9 Sechs Varianten zu Etüden und Präludien von Chopin

•Publications:

1) Breitkopf & Härtel, Copyright 1925, cat. no. FB VIII (as Vol. VIII of the Bach-Busoni Edition), (284 pages)

•Title: Klavierübung in zehn Büchern, zweite umgestaltete und bereicherte Ausgabe.

2) Books 1-5 republished by State Publishing House, Moscow, 1968, ed. J. Milstein. Plate no. 4135

3) Breitkopf & Härtel, Wiesbaden, 1968 (selected items ed. by Franzpeter Goebels)

•Ref: Dent, p. 344; Kindermann, pp. 463-464; Sitsky, pp. 162-163, 380-381; Beaumont, pp. 295-296, 372; Roberge, pp. 46, 55, 57.

Notes

1. Beaumont, pp. 302, 307; Sitsky, pp. 172-173.
2. Dent, p. 239.
3. Kindermann, p. 461.
4. ^ See WorldCat and Edition Breitkopf Catalog. Accessed 29 July 2009.
5. Beaumont, pp. 302-303; Sitsky, pp. 166-167.
6. Beaumont, pp. 304-305; Sitsky, pp. 166-170.
7. Beaumont, p. 305
8. Beaumont, pp. 302-306.
9. Sitsky, pp. 162-170.

References

External links

• Klavierübung: Scores at the International Music Score Library Project

v t e Ferruccio Busoni
Lists: Compositions · Adaptations · Discography
Operas	Die Brautwahl (1912) Turandot (1917) Arlecchino (1917) Doktor Faust (1925)
Concertos	Concerto for Piano and String Quartet (1878) Piano Concerto (1904) Indian Fantasy (1916)
Orchestral	Comedy Overture (1897) Turandot Suite (1905) Berceuse élégiaque (1909)
Piano compositions	Elegies (1908) An die Jugend (1909) Fantasia contrappuntistica (1910) Klavierübung
Piano editions and transcriptions	Bach-Busoni Editions Toccata and Fugue in D minor (JS Bach) Fantasy on Themes from Mozart's Figaro and Don Giovanni
Keyboard students	Guido Agosti Maud Allan Ignaz Friedman Rudolf Ganz Percy Grainger Louis Gruenberg Egon Petri Leo Sirota Zdenka Ticharich Józef Turczyński
Composition students	Natalie Curtis Philipp Jarnach Edgard Varèse Wladimir Vogel Kurt Weill Stefan Wolpe George Frederick Boyle
Related articles	Ferruccio Busoni International Piano Competition Ferruccio Busoni discography (as pianist)
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• Piano compositions by Ferruccio Busoni
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