Ferruccio Busoni said that there were essentially two types of piano concertos: the Mozart type, where the soloist has the spotlight, and the Beethoven type, where he or she supports the orchestra. In his own sole piano concerto, he went on to combine the two. Sample the fourth minute of the vast first movement here, where the piano's entrance is very Beethovenian despite the increased scope. It is, however, punishingly difficult, so much so that Busoni himself, a formidable pianist, declined to perform the work as a rule. ...
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Ferruccio Busoni said that there were essentially two types of piano concertos: the Mozart type, where the soloist has the spotlight, and the Beethoven type, where he or she supports the orchestra. In his own sole piano concerto, he went on to combine the two. Sample the fourth minute of the vast first movement here, where the piano's entrance is very Beethovenian despite the increased scope. It is, however, punishingly difficult, so much so that Busoni himself, a formidable pianist, declined to perform the work as a rule. After the piano's entrance, you get a little of everything: not only Beethoven but Wagnerian drama, Tchaikovskian sentiment, a tarantella in recognition of Busoni's roots, and, to top it all, a choral finale à la the Choral Fantasy in C major, Op. 80, of Beethoven. And, to top that, its text is a vaguely Islamic one. There are several recorded performances of this work available, although not as many as you might think. Those new to the work can select this one with confidence. It...
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