Entwurf einer neuen Ästhetik der Tonkunst / Ferruccio Busoni. URL to cite or link to: Febr. File:Busoni Entwurf einer neuen Ästhetik der Tonkunst pdf. Size of this JPG preview of this PDF file: × pixels. Other resolutions. Entwurf einer neuen Aesthetik der Tonkunst (German Edition) [Ferruccio Busoni] on *FREE* shipping on qualifying offers. Ferruccio Busoni.
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But the historical importance of the pianist and composer is only revealing itself more with the passage of time. His compositions may not have been taken seriously exactly because of his multiple talents.
While he held up Mozart as a model of classical values and encouraged his students to move away from the heaviness of a German Romantic tradition embodied by Beethoven and Wagner, he did not reject those composers altogether.
And while he had otnkunst for expressionist art, he was in close contact with Schoenberg and helped win him an invitation to Berlin. As fate would have it, Srhetik was then overshadowed by the avant-garde establishment following the First World War. In short, he was too German for the Italians and too Italian for the Germans.
In eimer last years, Busoni took refuge in a philosophical vision for the future of music and a small circle of disciples. Rather than breaking with the past, Busoni saw potential in building upon its foundations.
Entwurf einer neuen Ästhetik der Tonkunst (in German)
A prodigy at the keyboard, Busoni performed his own arrangements of Bach already as a ten-year-old, winning the attention of the influential music critic Edward Hanslick in Vienna.
At the turn of the twentieth century, in his thirties, Busoni increasingly began to integrate his own sthetk and melodic innovations.
For Busoni, arranging and composing were two sides of the same coin, a process in which the present entered into natural dialogue with the past. While melodic patterns acknowledge the twelve-tone innovations of Schoenberg, the textures also absorb the impressionist innovations of Debussy.
File:Busoni Entwurf einer neuen Ästhetik der Tonkunst 1916.pdf
But we also know that he had a distaste for the ttonkunst. But barely unable to cover costs, Busoni abandoned the endeavor after seven years.
The programs had been a difficult sell not just to audiences but the players of the Philharmonic, whom he had to cajole to devote sufficient rehearsal time. As early ashe had thought about the possibilities of microtones. For Busoni, new instruments and new ways of dividing the scale would provide a means of bringing music into the future without losing sight of past developments.
In what may seem a historical paradox, both Schoenberg and the arch-conservative Hans Pfitzner rejected the need for expanding the scale beyond its pre-existing twelve tones.
Sibelius, although he compared his ehtwurf compositions favorably to those of Busoni, also admired the Berceuse and adopted a new approach to orchestration and form, abandoning his admiration for Wagner.
Even more intriguing is the impact Busoni made on American musical life.
His Emperor Jones was the eleventh opera to premiere at the Metropolitan Opera, in Like Busoni, musical quality mattered more to him than style: All three figures championed values that were ahead of their time and never lived to see them realized fully. Busoni, plagued by ill health and alcoholism, did not even survive to complete his final opera, Doktor Faustwhich synthesized his entire compositional development into a personal statement: Listen Magazine Feature Visionary Traditionalist.
File:Busoni Entwurf einer neuen Ästhetik der Tonkunst pdf – Wikimedia Commons
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Entwurf einer neuen Ästhetik der Tonkunst (in German) from Project Gutenberg
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