The Concerto for Piano and Strings was written in 1878, when Busoni, in spite of his age (only 13 years) had already made his mark as a pianist, and the work represents a first attempt to bring together his favourite instrument and a polyphonic group, namely the string quartet. This is not a piano quintet however, as it displays soloistic qualities and a density of writing which reminds one of Brahms style, to which Busoni was particularly sensitive especially in the first period of his creative activity. In the first bar of the Adagio, then, an echo of the corresponding movement of Beethoven’s Seventh symphony can be heard. Finally, the “symphonic” structure in four movements with a Scherzo and a final Allegro vivace containing a true cadence in a clear concerto style is original. This Concerto is the forerunner to the Konzertstück for piano and orchestra op. 31a which Busoni was to compose in 1891.
The Kleine Suite for cello and piano op. 23 was composed in 1885 and dedicated to Alwin Schröder, the first cello of the Gewandhaus of Leipzig and a concert performer, who moved to the United States in 1891. This Suite was certainly written specifically for its dedicatee, given that the writing demands considerable technical ability on the instrument which, for example, in the first movement “Moderato ma energico” tends to “sing” on the upper-middle regions of the range. Of interest in the third movement “Mässig doch frisch” (Moderate but fresh) is the introduction of popular motifs underscored by the subtitle “Altes Tanzliedchen” (Antique dance melodies) which are evocative of Schumann. The last movement, “Moderato ma con brio” is the most elaborate with frequent dynamic and expression marks.
The Albumblatt (Page from an Album) for flute (or violin with mute) and piano was written in 1916 and dedicated to “Signor Albert Biolley”. In reality, this is rather more than a simple sketch or a modest piece to present to a friend or to a lady. The piece in E minor, proceeds from the first in an affable and relaxed mood. A central section, on the other hand, enlivens the flute line concluding with the gradual fading away of the final chord.
Organised in a wholly different way is the Divertimento in B-flat originally conceived for flute and orchestra in 1920 and dedicated to a great soloist of the time, Philippe Gaubert. A famous flautist, Gaubert carried on his activity as a performer alongside those of orchestral director and teacher. This Divertimento too was made to measure for the illustrious musician, but very freely, that is to say divorced from any schematic structure. The solo line moves very beautifully after a long instrumental introduction, emphasizing the expressive and technical resources of the flute in passages which are sometimes very demanding to perform. In 1923, Kurt Weill, who had been a pupil of Busoni’s, made a reduction of this Divertimento for flute and piano, as if to confirm its importance especially in an historical moment when the literature for flute and orchestra could certainly not be considered very rich. In this, as in other works for soloist and orchestra (or with piano as in the work being considered here), Busoni steers away from any formal contraints, fully conscious that the classical sonata form was destined to fade, like a star which had shone for too long.
Himself the son of a clarinetist, Busoni must have had the sound and the timbre of his father's instrument in his ears from a very early age. The manuscript of the Solo Dramatique pour la clarinette en si bem et Piano bears the date 2 February 1879, followed by the place: Bolzano. At that time in fact, Busoni was in the south-Tyrolese town on a tour in which he was to give concerts for piano at four hands with his mother, Anna. The piece hinges on an ascending scale for the clarinet, apart from a central “Maestoso” section which is different thematically and with a conclusion which sees the clarinet ascend to the high regions. Seen as a whole, not just as a work for clarinet but also above all as a piano piece, the work exhibits Brahmsian origins.
The Second essay for clarinet and piano is an undatable “Suite” (which certainly belongs to the first period), articulated in six movements, the first of which is entitled “Improvvisata”, in which the soloist moves in a lively and agile manner, touching the high regions or the range towards the conclusion. A “Barcarola” in a 6/8 rocking rhythm follows, and then an “Elegia” of a more meditative nature. As a necessary contrast, the “Danza campestre” (Rural dance) in 3/8 brings back with all its vivacity a rustic theme which was certainly an invention or the composer’s. The fifth movement is entitled “Tema variato”: the theme is likewise invented by Busoni, and each of the four variations moves with lightness and vivacity. The last movement marked by the indication “Finale, Andantino” allows the clarinet to move in all directions, with the ritual leap in to the high regions. A “Serenade” concludes the “Suite” in 6/8, a rhythm which seems to reiterate the popular vein which is not infrequent in the music of this Empolese composer. In fact, this work is intended to both flowing and unproblematic. The general mood is always Brahmsian.
Edward Neil