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599 Videos  
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     suivant
  busoni: chopin prelude no 15 "raindrop" ...
duo-art reproducing piano roll #033 prelude op 28 no 15 in d flat major frederic chopin ferruccio busoni, piano duo-art reproducing piano roll #033 prelude op 28 no 15 in d flat major frederic chopin ferruccio busoni, piano duo-art reproducing piano roll #033 prelude op 28 no 15 in d flat major frederic chopin ferruccio busoni, piano
  bach - busoni - chaconne d minor
fazil say, prague 2002 fazil say, prague 2002 fazil say, prague 2002
  marc-andre hamelin plays bach-busoni cha...
excellent performance - a rarity broadcast on canadian tv channel excellent performance - a rarity broadcast on canadian tv channel excellent performance - a rarity broadcast on canadian tv channel
  horowitz plays bach-busoni
horowitz plays bach-busoni horowitz plays bach-busoni horowitz plays bach-busoni
  busoni concert waltz op. 33a - dimitris ...
remarkable performance of busoni's remarkable performance of busoni's remarkable performance of busoni's
  busoni: doktor faust
arthaus dvd trailer: (arthaus 101283) more info.: http://www.naxos.com/catalogue/item.asp?item_code=101283 recorded live from the zurich opera house, 2006 arthaus dvd trailer: (arthaus 101283) more info.: http://www.naxos.com/catalogue/item.asp?item_code=101283 recorded live from the zurich opera house, 2006 arthaus dvd trailer: (arthaus 101283) more info.: http://www.naxos.com/catalogue/item.asp?item_code=101283 recorded live from the zurich opera house, 2006
  bach (busoni) - ich ruf zu dir, herr jes...
bach-busoni - chorale prelude 'ich ruf zu dir, herr jesu christ' (v. horowitz) bach-busoni - chorale prelude 'ich ruf zu dir, herr jesu christ' (v. horowitz) bach-busoni - chorale prelude 'ich ruf zu dir, herr jesu christ' (v. horowitz)
  busoni sonatina seconda - bildau
alexander bildau live 1912 - a year of eccentric sonata-conceptions! ives composes his concord-sonata, a musical portrait of transcendental philosophers; the muscovite scriabin claims to have expressed non-human feelings in his seventh sonata op.64 - a true paradox (at least for mortal commoners); busoni finally, looking for the essential subject of occidental culture (in the spenglerian sense), inevitably decides for a faustian topic. in the course of this process originates a composition for piano, which conceals its intents and purpose under the inconspicuous title sonatina seconda. as a common criterion of those three works one remarks very high philosophical pretensions, which certainly and endlessly may be disputed by the real experts in philosophy. indisputable is, that such a high flight of fancy functioned as a trigger to create extraordinary and uncompromising music. highly complex and not easily accesible compositions, which after almost one hundred years are still unspoiled and keep their newness. sonatina seconda is a stroke of genius, a sketch, bundling in compressed form relevant musical materials of the opera doktor faust. the character of this sound-world is hardly to be described with words. busoni's most revolutionary work still remains unpopular. well, doesn't popularity not destroy even the best work of music anyway? (comment by a. bildau, added by kcb) 1912. ein jahr exzentrischer sonatenkonzeptionen! ives entwirft in der concord-sonate einen musikalisches portrait transzendentalistischer philosophen. der moskauer skryabin behauptet in seiner siebten sonate op.64 aussermenschliche emotionen dargestellt zu haben - ein logisches paradoxon, zumindest fuer normalsterbliche; busoni schliesslich, fuer ein geeignetes opernsujet auf der suche nach der essentiellen thematik des abendlaendischen kulturkreises (durchaus im sinne spenglers), entscheidet sich zwangslaeufig fuer eine faustische thematik. im zuge dieser arbeit entsteht eine komposition fuer klavier, die ihren eigentlichen gehalt und zweck hinter dem unverfaenglichen namen sonatina seconda verbirgt. gemeinsam ist den genannten werken ein hoher, von fachleuten oft belaechelter, philosophischer anspruch, ueber dessen wert man nach belieben und endlos streiten kann. unbestreitbar ist, dass durch derartige schoengeistige hoehenfluege ganz aussergewoehnliche und kompromisslose musik entstand. hochkomplex und nicht leicht zugaenglich, sind die kompositionen auch nach fast 100 jahren noch unverbraucht. die sonatina seconda ist eine geniale skizze, ein konzeptuelles werk, das in komprimierter form die wesentlichen musikalischen materialien der oper doktor faust buendelt. diese klangwelt laesst sich in worten nur schwer umschreiben. busonis radikalstes werk ist unpopulaer geblieben. nun, richtet popularitaet nicht sowieso auch das beste werk zugrunde? (comment by a. bildau, added by kcb) alexander bildau live 1912 - a year of eccentric sonata-conceptions! ives composes his concord-sonata, a musical portrait of transcendental philosophers; the muscovite scriabin claims to have expressed non-human feelings in his seventh sonata op.64 - a true paradox (at least for mortal commoners); busoni finally, looking for the essential subject of occidental culture (in the spenglerian sense), inevitably decides for a faustian topic. in the course of this process originates a composition for piano, which conceals its intents and purpose under the inconspicuous title sonatina seconda. as a common criterion of those three works one remarks very high philosophical pretensions, which certainly and endlessly may be disputed by the real experts in philosophy. indisputable is, that such a high flight of fancy functioned as a trigger to create extraordinary and uncompromising music. highly complex and not easily accesible compositions, which after almost one hundred years are still unspoiled and keep their newness. sonatina seconda is a stroke of genius, a sketch, bundling in compressed form relevant musical materials of the opera doktor faust. the character of this sound-world is hardly to be described with words. busoni's most revolutionary work still remains unpopular. well, doesn't popularity not destroy even the best work of music anyway? (comment by a. bildau, added by kcb) 1912. ein jahr exzentrischer sonatenkonzeptionen! ives entwirft in der concord-sonate einen musikalisches portrait transzendentalistischer philosophen. der moskauer skryabin behauptet in seiner siebten sonate op.64 aussermenschliche emotionen dargestellt zu haben - ein logisches paradoxon, zumindest fuer normalsterbliche; busoni schliesslich, fuer ein geeignetes opernsujet auf der suche nach der essentiellen thematik des abendlaendischen kulturkreises (durchaus im sinne spenglers), entscheidet sich zwangslaeufig fuer eine faustische thematik. im zuge dieser arbeit entsteht eine komposition fuer klavier, die ihren eigentlichen gehalt und zweck hinter dem unverfaenglichen namen sonatina seconda verbirgt. gemeinsam ist den genannten werken ein hoher, von fachleuten oft belaechelter, philosophischer anspruch, ueber dessen wert man nach belieben und endlos streiten kann. unbestreitbar ist, dass durch derartige schoengeistige hoehenfluege ganz aussergewoehnliche und kompromisslose musik entstand. hochkomplex und nicht leicht zugaenglich, sind die kompositionen auch nach fast 100 jahren noch unverbraucht. die sonatina seconda ist eine geniale skizze, ein konzeptuelles werk, das in komprimierter form die wesentlichen musikalischen materialien der oper doktor faust buendelt. diese klangwelt laesst sich in worten nur schwer umschreiben. busonis radikalstes werk ist unpopulaer geblieben. nun, richtet popularitaet nicht sowieso auch das beste werk zugrunde? (comment by a. bildau, added by kcb) alexander bildau live 1912 - a year of eccentric sonata-conceptions! ives composes his concord-sonata, a musical portrait of transcendental philosophers; the muscovite scriabin claims to have expressed non-human feelings in his seventh sonata op.64 - a true paradox (at least for mortal commoners); busoni finally, looking for the essential subject of occidental culture (in the spenglerian sense), inevitably decides for a faustian topic. in the course of this process originates a composition for piano, which conceals its intents and purpose under the inconspicuous title sonatina seconda. as a common criterion of those three works one remarks very high philosophical pretensions, which certainly and endlessly may be disputed by the real experts in philosophy. indisputable is, that such a high flight of fancy functioned as a trigger to create extraordinary and uncompromising music. highly complex and not easily accesible compositions, which after almost one hundred years are still unspoiled and keep their newness. sonatina seconda is a stroke of genius, a sketch, bundling in compressed form relevant musical materials of the opera doktor faust. the character of this sound-world is hardly to be described with words. busoni's most revolutionary work still remains unpopular. well, doesn't popularity not destroy even the best work of music anyway? (comment by a. bildau, added by kcb) 1912. ein jahr exzentrischer sonatenkonzeptionen! ives entwirft in der concord-sonate einen musikalisches portrait transzendentalistischer philosophen. der moskauer skryabin behauptet in seiner siebten sonate op.64 aussermenschliche emotionen dargestellt zu haben - ein logisches paradoxon, zumindest fuer normalsterbliche; busoni schliesslich, fuer ein geeignetes opernsujet auf der suche nach der essentiellen thematik des abendlaendischen kulturkreises (durchaus im sinne spenglers), entscheidet sich zwangslaeufig fuer eine faustische thematik. im zuge dieser arbeit entsteht eine komposition fuer klavier, die ihren eigentlichen gehalt und zweck hinter dem unverfaenglichen namen sonatina seconda verbirgt. gemeinsam ist den genannten werken ein hoher, von fachleuten oft belaechelter, philosophischer anspruch, ueber dessen wert man nach belieben und endlos streiten kann. unbestreitbar ist, dass durch derartige schoengeistige hoehenfluege ganz aussergewoehnliche und kompromisslose musik entstand. hochkomplex und nicht leicht zugaenglich, sind die kompositionen auch nach fast 100 jahren noch unverbraucht. die sonatina seconda ist eine geniale skizze, ein konzeptuelles werk, das in komprimierter form die wesentlichen musikalischen materialien der oper doktor faust buendelt. diese klangwelt laesst sich in worten nur schwer umschreiben. busonis radikalstes werk ist unpopulaer geblieben. nun, richtet popularitaet nicht sowieso auch das beste werk zugrunde? (comment by a. bildau, added by kcb)
  horowitz plays bach-busoni "nun freut euch"
vladimir horowitz plays bwv 734 of j.s. bach: orgel-choralvorspiel vladimir horowitz plays bwv 734 of j.s. bach: orgel-choralvorspiel vladimir horowitz plays bwv 734 of j.s. bach: orgel-choralvorspiel
  genova & dimitrov | radio cologne concer...
the piano duo | genova & dimitrov | das klavierduo - radio cologne great concert hall 2008 - ferruccio busoni - ouverture to the opera the piano duo | genova & dimitrov | das klavierduo - radio cologne great concert hall 2008 - ferruccio busoni - ouverture to the opera the piano duo | genova & dimitrov | das klavierduo - radio cologne great concert hall 2008 - ferruccio busoni - ouverture to the opera
  egon petri plays busoni fantasia after j...
ferruccio busoni (1866-1924): fantasia after johann sebastian bach k 253 in f minor (composed in 1909). egon petri, piano recorded in 1937. the pianist egon petri was born in hanover, germany in 1881 and had his first violin lessons at the age of five from his father, the dutch-born violinist henri petri, a favourite pupil of joseph joachim. henri petri had become konzertmeister at the royal theatre in hanover in 1881 and two years later took up a similar position with the gewandhaus orchestra in leipzig, before moving in 1889 to lead the royal chapel orchestra in dresden egon petri started his study of the piano in 1888, going on to further work under richard buchmayer, a musician and scholar with a strong interest in earlier music, and with teresa carreno. he also studied the organ, the french horn and composition, while completing his general education at the dresden kreuzschule in 1899. his first employment was as second violin in his father's quartet and as a member of the royal orchestra in dresden, but by 1901 it had become apparent to him that his true vocation was that of a pianist, a decision in which he was encouraged by ferruccio busoni, a friend of the family. petri went on to take lessons with busoni in berlin, where he also studied philosophy, continuing his studies under busoni in weimar and dresden, before embarking on a concert career, at first in holland and germany, then throughout europe and in the united states. one of the first foreign musicians of stature to visit the soviet union, he won considerable and continuing success there. his association with busoni, with whom he appeared in london in 1921 in two-piano recitals, remained of importance, influencing his style of performance and making him one of the foremost interpreters of busoni's work. enjoying, at the same time, a very considerable reputation as a teacher, petri served as a professor at the then royal manchester college of music from 1905 to 1911, following this with similar work in basle and at the berlin hochschule fur musik. in 1927 he had made his home at zakopane in poland, but in 1938 he moved to america, spending the war years as pianist-in-residence at cornell university and becoming an american citizen. in 1947 he moved to mills college in california, holding a similar position there and only interrupting his stay to teach briefly in basle. he died in 1962. source: naxos ferruccio busoni (1866-1924): fantasia after johann sebastian bach k 253 in f minor (composed in 1909). egon petri, piano recorded in 1937. the pianist egon petri was born in hanover, germany in 1881 and had his first violin lessons at the age of five from his father, the dutch-born violinist henri petri, a favourite pupil of joseph joachim. henri petri had become konzertmeister at the royal theatre in hanover in 1881 and two years later took up a similar position with the gewandhaus orchestra in leipzig, before moving in 1889 to lead the royal chapel orchestra in dresden egon petri started his study of the piano in 1888, going on to further work under richard buchmayer, a musician and scholar with a strong interest in earlier music, and with teresa carreno. he also studied the organ, the french horn and composition, while completing his general education at the dresden kreuzschule in 1899. his first employment was as second violin in his father's quartet and as a member of the royal orchestra in dresden, but by 1901 it had become apparent to him that his true vocation was that of a pianist, a decision in which he was encouraged by ferruccio busoni, a friend of the family. petri went on to take lessons with busoni in berlin, where he also studied philosophy, continuing his studies under busoni in weimar and dresden, before embarking on a concert career, at first in holland and germany, then throughout europe and in the united states. one of the first foreign musicians of stature to visit the soviet union, he won considerable and continuing success there. his association with busoni, with whom he appeared in london in 1921 in two-piano recitals, remained of importance, influencing his style of performance and making him one of the foremost interpreters of busoni's work. enjoying, at the same time, a very considerable reputation as a teacher, petri served as a professor at the then royal manchester college of music from 1905 to 1911, following this with similar work in basle and at the berlin hochschule fur musik. in 1927 he had made his home at zakopane in poland, but in 1938 he moved to america, spending the war years as pianist-in-residence at cornell university and becoming an american citizen. in 1947 he moved to mills college in california, holding a similar position there and only interrupting his stay to teach briefly in basle. he died in 1962. source: naxos ferruccio busoni (1866-1924): fantasia after johann sebastian bach k 253 in f minor (composed in 1909). egon petri, piano recorded in 1937. the pianist egon petri was born in hanover, germany in 1881 and had his first violin lessons at the age of five from his father, the dutch-born violinist henri petri, a favourite pupil of joseph joachim. henri petri had become konzertmeister at the royal theatre in hanover in 1881 and two years later took up a similar position with the gewandhaus orchestra in leipzig, before moving in 1889 to lead the royal chapel orchestra in dresden egon petri started his study of the piano in 1888, going on to further work under richard buchmayer, a musician and scholar with a strong interest in earlier music, and with teresa carreno. he also studied the organ, the french horn and composition, while completing his general education at the dresden kreuzschule in 1899. his first employment was as second violin in his father's quartet and as a member of the royal orchestra in dresden, but by 1901 it had become apparent to him that his true vocation was that of a pianist, a decision in which he was encouraged by ferruccio busoni, a friend of the family. petri went on to take lessons with busoni in berlin, where he also studied philosophy, continuing his studies under busoni in weimar and dresden, before embarking on a concert career, at first in holland and germany, then throughout europe and in the united states. one of the first foreign musicians of stature to visit the soviet union, he won considerable and continuing success there. his association with busoni, with whom he appeared in london in 1921 in two-piano recitals, remained of importance, influencing his style of performance and making him one of the foremost interpreters of busoni's work. enjoying, at the same time, a very considerable reputation as a teacher, petri served as a professor at the then royal manchester college of music from 1905 to 1911, following this with similar work in basle and at the berlin hochschule fur musik. in 1927 he had made his home at zakopane in poland, but in 1938 he moved to america, spending the war years as pianist-in-residence at cornell university and becoming an american citizen. in 1947 he moved to mills college in california, holding a similar position there and only interrupting his stay to teach briefly in basle. he died in 1962. source: naxos
  bach busoni chaconne alicia de larrocha ...
alica played several bach busoni and bach lizst arrangements the chacone was one of her favorites alica played several bach busoni and bach lizst arrangements the chacone was one of her favorites alica played several bach busoni and bach lizst arrangements the chacone was one of her favorites
  chopin etude op.10 no.5 busoni rec. 1922
listening to this performance by busoni, reminds us that pianists born before 1870 (and a few after) did not treat the music that they played as holy writ. professional correctness seems to be a 20th century phenomenon.the greatest pianists seem to have been those who were also composers or transcribers of others music. listening to this performance by busoni, reminds us that pianists born before 1870 (and a few after) did not treat the music that they played as holy writ. professional correctness seems to be a 20th century phenomenon.the greatest pianists seem to have been those who were also composers or transcribers of others music. listening to this performance by busoni, reminds us that pianists born before 1870 (and a few after) did not treat the music that they played as holy writ. professional correctness seems to be a 20th century phenomenon.the greatest pianists seem to have been those who were also composers or transcribers of others music.
  gyorgy sebok - bach-busoni - adagio fro...
gyorgy sebok talks about war, emotions/feelings during war and plays the busoni transcription of the well known adagio from bwv 564. gyorgy sebok talks about war, emotions/feelings during war and plays the busoni transcription of the well known adagio from bwv 564. gyorgy sebok talks about war, emotions/feelings during war and plays the busoni transcription of the well known adagio from bwv 564.
  alexander gavrylyuk bach-busoni toccata...
live may 2007 miami international piano festival. the entire performance is available on dvd at http://www.vaimusic.com/index.htm http://www.miamipianofest.com http://miamipianofest.com live may 2007 miami international piano festival. the entire performance is available on dvd at http://www.vaimusic.com/index.htm http://www.miamipianofest.com http://miamipianofest.com live may 2007 miami international piano festival. the entire performance is available on dvd at http://www.vaimusic.com/index.htm http://www.miamipianofest.com http://miamipianofest.com
  ferruccio busoni: liszt - feux follets
1915, duo-art 1915, duo-art 1915, duo-art
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